<?xml version="1.0" encoding="iso-8859-1" ?><rss version="2.0"><channel><title>washingtonpost.com - Sunday Arts</title><link>http://www.washingtonpost.com/wp-dyn/print/sunday/arts?nav=rss_print/sunday/arts</link><description>Sunday Arts</description><language>en-us</language><ttl>15</ttl><image><title>washingtonpost.com</title><width>140</width><height>20</height><link>http://www.washingtonpost.com</link><url>http://media.washingtonpost.com/wp-srv/hp/image/wp_web.gif</url></image><item><title><![CDATA[Hit 'Send' And the World Laughs With You]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A9492-2005Apr22.html?nav=rss_print/sunday/arts</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A9492-2005Apr22.html?nav=rss_print/sunday/arts</guid><pubDate>Sun, 24 Apr 2005 7:49:10 GMT</pubDate><description><![CDATA[ The guy's Irish or Scottish or something like that, and he's drunk as a skunk. He staggers down the street, stumbles to his car and starts fumbling to get his key in the lock when two cops walk up, one male, one female.]]></description><author> Peter Carlson</author></item><item><title><![CDATA[The Hazy Future of Sitcoms]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A9493-2005Apr22.html?nav=rss_print/sunday/arts</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A9493-2005Apr22.html?nav=rss_print/sunday/arts</guid><pubDate>Sun, 24 Apr 2005 7:49:10 GMT</pubDate><description><![CDATA["Everybody Loves Raymond" is the last great sitcom of its sitcom generation, the flag bearer for a style of domestic sitcom that not everybody loves anymore.]]></description><author> Tom Shales</author></item><item><title><![CDATA[Merry Musicals]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A9490-2005Apr22.html?nav=rss_print/sunday/arts</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A9490-2005Apr22.html?nav=rss_print/sunday/arts</guid><pubDate>Sun, 24 Apr 2005 7:49:10 GMT</pubDate><description><![CDATA[Musical comedies are taking Broadway by song.]]></description><author> Peter Marks</author></item><item><title><![CDATA[Shtick Shift: Stand-Up's Edge No Longer Cuts]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A9491-2005Apr22.html?nav=rss_print/sunday/arts</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A9491-2005Apr22.html?nav=rss_print/sunday/arts</guid><pubDate>Sun, 24 Apr 2005 7:49:10 GMT</pubDate><description><![CDATA[  LOS ANGELES  --  Like jazz, stand-up comedy is both an American invention and harder than it looks: A lone entertainer with nothing but a microphone stands before an audience and tries to make it laugh.]]></description><author> William Booth</author></item><item><title><![CDATA[HERE &#38;  NOW]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A10661-2005Apr22.html?nav=rss_print/sunday/arts</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A10661-2005Apr22.html?nav=rss_print/sunday/arts</guid><pubDate>Sun, 24 Apr 2005 7:49:10 GMT</pubDate><description><![CDATA[  ART <br>    DAN STEINHILBER IS ONE  of Washington's most successful and talented young artists. Only 32, he's already shown work at the Smithsonian's Hirshhorn Museum, which has now acquired one of his largest pieces. Next year he'll be getting a solo show at a museum in Houston, as well as an artist's residency at the Mattress Factory in Pittsburgh, a pioneering center for installation art. It's hard to resist the whimsy of Steinhilber's work, in which he assembles dozens or even hundreds of banal objects  --  pop bottles, wire hangers  --  into appealing sculptures and installations. But some of us have been determined to resist it and ask Steinhilber to throw a bit more conceptual heft into his art. In his latest show at Numark Gallery, there are hints he may be moving in that direction. The best piece is nothing more than a restaurant warming lamp that hangs from the ceiling to just above head height. A plain white plinth, of the kind you'd plunk a small bronze on, rises four feet from the floor to meet it. And Steinhilber's work of art seems to hover in the empty space between them, as a disembodied red glow and a waft of heat. A plinth sets the stage for art; a light points at the spot where it's supposed to sit. The art itself becomes whatever fills the place that plinth and light pick out. An artist whose work has always been about attractive heaps of matter now seems headed for the immaterial.]]></description><author></author></item><item><title><![CDATA[Laughing Across Color Lines]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A9494-2005Apr22.html?nav=rss_print/sunday/arts</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A9494-2005Apr22.html?nav=rss_print/sunday/arts</guid><pubDate>Sun, 24 Apr 2005 7:49:10 GMT</pubDate><description><![CDATA[It just might be that, however segregated live comedy has become, at the movies we're at least getting together and laughing together.]]></description><author> Ann Hornaday</author></item><item><title><![CDATA[Maria McKee's Bleak 'Dreams']]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A9495-2005Apr22.html?nav=rss_print/sunday/arts</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A9495-2005Apr22.html?nav=rss_print/sunday/arts</guid><pubDate>Sun, 24 Apr 2005 7:49:10 GMT</pubDate><description><![CDATA[ Lately, alt-country upstart Tift Merritt has been making better Maria McKee albums than McKee herself has. Merritt excels at the sort of rollicking, classic, soul-influenced albums McKee made briefly in the '90s and should be making still. But McKee, who has country rock's best voice and its most unfairly lackluster career  --  next to Kelly Willis, anyway  --  never settled on a style that fit. Since her days fronting cowpunk pioneers Lone Justice in the early '80s, she's been a country folkie, an acolyte of Bowie in his Ziggy phase and a neo-baroque Edith Piaf, and that's just lately.]]></description><author> Allison Stewart</author></item><item><title><![CDATA[A Quick Spin]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A9496-2005Apr22.html?nav=rss_print/sunday/arts</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A9496-2005Apr22.html?nav=rss_print/sunday/arts</guid><pubDate>Sun, 24 Apr 2005 7:49:10 GMT</pubDate><description><![CDATA[     BEAUTY AND THE BEAT  <br>   Edan <br> Like most good indie hip-hop acts, Edan has a seemingly bottomless musical curiosity, but the Boston DJ/MC also has an edge over the competition: He's willing to dive headlong into musty '60s and '70s psychedelia for...]]></description><author></author></item><item><title><![CDATA[Raconteur Stop]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A9497-2005Apr22.html?nav=rss_print/sunday/arts</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A9497-2005Apr22.html?nav=rss_print/sunday/arts</guid><pubDate>Sun, 24 Apr 2005 7:49:10 GMT</pubDate><description><![CDATA[ NEW YORK<br> Here, tucked away in the bowels of a Lower East Side bar among the denizens of the Moth, the literary crowd's answer to stand-up, the vibe is very not-for-profit: granny glasses, funky hats, comfortable shoes. Geek chic.]]></description><author> Teresa Wiltz</author></item><item><title><![CDATA[No Laughing Matter]]></title><link>http://www.washingtonpost.com/wp-dyn/articles/A9498-2005Apr22.html?nav=rss_print/sunday/arts</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/articles/A9498-2005Apr22.html?nav=rss_print/sunday/arts</guid><pubDate>Sun, 24 Apr 2005 7:49:10 GMT</pubDate><description><![CDATA[The sexy, the subversive and the witty can be found in mighty works of art. Still, as you may have noticed, Washington's museums aren't a lot of laughs.]]></description><author> Paul Richard</author></item></channel></rss>