Given the Internet-era ability to watch many distant events in real time, the simultaneity of “Virtual Sunset” isn’t startling. But Klein adds another level to the piece with the tubes, arranged with a sort of clearing near the center. From inside this forestlike environment, views of the projected photographs are divided and diffused, as if seen through a prism. The crowd-sourced sunset might be a planetary event, but from inside the installation, the perspective is utterly individual.
The Invisible Human; Studio Tobias Klein: Virtual Sunset
on view through March 20 at Industry Gallery, 1358 Florida Ave. NE, Suite 200; 202-399-1730,
There are also intriguing paths to the interior in Project 4’s “Adaptation,” in which two of the three artists have installed pieces that force viewers to bob and weave. Victoria Greising’s vividly colored “three point zero” is assembled from thread, used clothing and bungee cords, affixed to the wall and a stair railing; to fully experience the enveloping profusion, the viewer must enter it. Caitlin Masley’s “Neo Habit,” a garden of black neo-Cubist shapes, can be comprehended from outside, but it helps to tiptoe through the painted foam-core topiary. Lisa Kellner’s three works, made principally from colored-silk sacs, are handsome but lack the presence of Greising’s and Masley’s pieces.
on view through Saturday at Project 4 Gallery, 1353 U St. NW, third floor; 202-232-4340,
Working on the beach in the Rockaway area, Jimmy Miracle constructed a series of environments that can be seen in photographs at Flashpoint Gallery. The show, “Wearing Ethereal,” includes some intriguing sculptural assemblages but consists mostly of images of the local artist’s temporary earthworks. These are in the tradition of Britain’s Andy Goldsworthy, except that where that sculptor works with only organic materials, Miracle mixes driftwood, shells and bird carcasses with man-made stuff, mostly garishly hued plastic. Something of a neat freak, the artist not only places the synthetic objects in orderly alignments, but also arranges them by color. These piles of plastic near the ocean inevitably evoke the massive garbage patch that floats in the mid-Pacific. Miracle might be more interested in staging private rituals than in delivering environmental warnings, but he does conjure the threat of nonbiodegradable trash in “Passage,” in which a wave of plastic objects seems to gush through a rocky cleft.
on view through Saturday at Flashpoint Gallery, 916 G St. NW; 202-315-1305; www.culturaldc.org/visual-arts/
Jenkins is a freelance writer.