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The unexpected is the rule at Gallery 10. Stepping through the doorway, one might find a
shadowy cavern draped with shapes resembling entrails; stark photographs of the homeless
ironically juxtaposed with scenes from fast food restaurants; carefully detailed shrines
peopled with dogs impersonating saints; tall, elegant glass vessels filled with milk; or
even a quiet group of small paintings mingling symbols, patterns and color.
Gallery 10 is an adventurous place. Its greatest contribution to Washington's art community is that it can risk showing innovative artists in an atmosphere free of commercial constraints, and it does just that. Many of Washington's most respected artists, from painters to installations artist, got their start here. In providing a space for both the local and out-of-town artists working in nontraditional forms, Gallery 10 also furnishes a provocative forum for art in this capital city. Founded in 1974, it is one of Washington's oldest surviving artist owned spaces, with half of its exhibitions devoted to the work of nonmembers. Something in the mix of continuity of members' shows and the unexpected contributions of guest artists generates a lively energy that keeps the atmosphere of risk and dedication to art alive and well. Washington is a conservative place with the odd atmosphere of cautiousness and volatility that often marks political centers. Most of the galleries here are respectable and even-keeled. Despite it's longevity, Gallery 10 is not. While the occasional show may be too raw or too undisciplined or even too exuberant for some, it must nonetheless be admitted that each is true commitment to artists and art. Art itself is not necessarily respectable or even-keeled, but however difficult it may sometimes be, it remains a human necessity. This issue of respectability versus human need is central to art in the late 20th century. Gallery 10's commitment to the necessity of art is the real basis for its respected position in the Washington art community. Mary McCoy |