City Paper is not for tourists
TO JULY 30
By the standards of summer gallery shows—those slapdash affairs that keep the walls filled until everyone returns from vacation—Fusebox’s “Landscaping” isn’t half bad. One newcomer to the gallery is Mike Wsol (his work is pictured), who offers architectural models of a filtration system/reservoir (using green map pins as trees) and an archive that looks as if it’s located deep underground. Also new to Fuse is Marcel Dinahet, whose video loop In Cyprus lets a camera bob right at the water’s level, recording, in bifurcated fashion, a shoreside industrial site above and underwater flora below. (Photographer Hope Sandrow tried something similar with a series of gorgeous still images from Indonesia a few years back, but Dinahet adds motion and a man-vs.-nature subtext.) Jason Phillips returns with two miniature oils on narrow wood panels. As always, Phillips’ carefully painted works—they almost look like illustrations for children’s books—are compellingly twisted, with one featuring several burning cars amid a bleak desertscape and the other a lifeboat with four tiny figures adrift at sea. Ian Whitmore delivers an oddly old-fashioned watercolor of a Victorian-looking lawn party, but the genuine star here is Jason Falchook. After hesitant solo shows at Fusebox in 2002 and 2004, Falchook seems to have finally found his voice. Though their subject matter isn’t groundbreaking—a corrugated metal fence with razor wire in one and high-rise apartment buildings partly obscured by an anonymous boardwalk in the other—Falchook’s color photographs capture the breathtaking colors of late-afternoon light in such sharp focus that you forget you’re looking at ugly urban wastelands. Even the razor wire looks as if it were drawn in ink by a professional illustrator. The show is on view from noon to 6 p.m. Tuesdays through Thursdays and from noon to 8 p.m. Fridays and Saturdays, through Saturday, July 30, at Fusebox, 1412 14th St NW. Free. (202) 299-9220.