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OPENING: Work by John Acquilino opens today at Gallery Neptune; work by Steven Cushner and William Willis opens today at Hemphill Fine Arts; work by Fierce Sonia opens today at the Art League Gallery; work by Trevor Young opens tomorrow at Civilian Art Projects; work from Salamandra Studios opens tomorrow at the District of Columbia Arts Center; member and anniversary show opens tomorrow at MOCA DC; work by Mariah Josephy opens Saturday at 410 GooDBuddY; work by Matthew Carucci and Jerome Pouwels opens Saturday at Evolve Urban Arts Project; work by Gina Clapp opens Saturday at City Gallery.

Helios: Eadweard Muybridge in a Time of Change” opens Saturday at the Corcoran.

CLOSING: “Modern Painters, Potomac River School” closes Saturday at American Painters; “Suspended Landscape” closes Wednesday at Transformer Gallery; work by Rie Tabata closes Thursday, April 15 at Orchard Gallery.

ONGOING: See our listings.

Reviews of Maria Friberg and John Brown after the jump.

Critic Maura Judkis visits “Maria Friberg: Transmission,” running to May 8 at Conner Contemporary Art:

How much more of a loaded symbol could Maria Friberg have chosen in 2010 than the automobile? Cars, lately, have been emblematic of the American Dream taking a detour—of corporate malfeasance, of laziness, of failure, of the loss of control. Friberg’s two Transmission works show the undersides of vehicles against a clear blue sky, so we see the cars as a mechanic, and not a salesman, might. Friberg’s cars are juxtaposed with ethereal images of men lounging in trees, which make the cars’ dark undersides appear even more foreboding—an environmental admonition set against the vehicles’ oil- and exhaust-covered innards. It’s not Friberg’s fault that the connection between man and nature explored in these works takes a backseat to cars themselves—blame Toyota. In the video Transmission, a car moves through the screen, and it’s hard not to think of it as accelarating to its doom, even as we consider the car’s, and not the driver’s, point of view.

Louis Jacobson reviews Cross MacKenzie Ceramic Arts’ show of assemblages by photographer John Brown, running to April 30:

John Brown’s dreamlike photographic assemblages document an arbor of vines in Southern California, season by season. Arranged in grids of five, six, or nine meticulously mounted prints, Brown’s large-scale works suggest the view seen when looking through a multipaned glass window. Inevitably, though, some seasons are more interesting than others. Winter is dreary, with naked branches slicing a cloudy sky. Summer, on the other hand, is lovely, with the same branches adorned with surprisingly detailed, translucent purple leaves. The big disappointment is our own newly arrived season, spring, which isn’t sprightly at all but rather bleak—and virtually indistinguishable from winter. The small exhibition also includes a selection of small, black-and-white botanical images.

LAST WEEK’S REVIEWS: “Hendrick Avercamp: The Little Ice Age” at the National Gallery; Susana Raab’s “American Vernacular” at Irvine Contemporary; “In Our Time: Photographs by Anne Lass” at Goethe-Institut; “A.B. Miner: Naked” at G Fine Art.

Top image: “Summer” by John Brown.

“A.B. Miner: Naked” at G Fine Art