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Local artisan Peter Waddell has pursued a calling in a acreage so admirable that it has about disappeared: actual painting. Yet the two behemothic Waddell canvases at the hub of “Eye of the Bird: Visions and Angle of D.C.’s Past” at the George Washington University Museum aren’t aloof amusing or egoistic anachronisms. They are, in a sense, conceptual art. The exhibition contains best abstracts and artifacts whose acceptation flows both into and out of the paintings.

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The New Zealand-bred Waddell is absorbed by his adopted city’s aboriginal years, which he has depicted in assorted contexts. His phenomenally abundant new pictures are absurd aeriform angle of the Washington planned by Peter (a.k.a. Pierre) Charles L’Enfant. “The Indispensable Plan” visualizes the orderly, European-style basic the Frenchman expected, complete with such un-American appearance as an official civic church. “The Village Monumental” depicts our boondocks as it absolutely (and unimpressively) was in 1825, the year L’Enfant died.

The aboriginal landscape, beheld from a barefaced in what is now Arlington County, is so abstract as to be modern, alike if its capacity are impeccably 19th century. It’s a civic-minded fiction, a absent-mindedness that’s alike rather than elusive. The additional vista, from the aforementioned vantage, additionally is conjectural, but alone partly. It’s fatigued from both beheld and anecdotal accounts, and Waddell appears assured abundant of its accurateness to abode a agent amount in the foreground, allegedly abstraction the scene.

Accompanying the paintings are some of the altar that acquaint them. A best dress echoes one apparent in “The Village Monumental” — or rather, the account echoes the garment. Nearby are 19th-century maps, and Waddell’s own topographic model, assuming the hills and hollows not apparent on artery diagrams (and that aggressive L’Enfant). Video screens action close-ups and explanations of assertive appearance in the pictures, which are best perused through the accumulative glasses that are agreeably provided.

Waddell’s accomplishment as a painter equals his absorbing activity and patience, but the artist’s ambition is not absolute self-expression. He subordinates all of that to L’Enfant’s design, and to a aggregate one. His “Eye of the Bird” offers two versions of an American dream.

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Eye of the Bird: Visions and Angle of D.C.’s Past Through Dec. 23 at the George Washington University Museum, 701 21st St. NW.

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21 best ANTIQUE NATURE PRINTS images on Pinterest | Nature prints … – antique nature prints | antique nature prints

Flock

Cross MacKenzie Gallery’s “Flock” doesn’t booty Peter Waddell’s affectionate of bird’s eye view, but it does abode added capacity than are appropriate by its subtitle, “Beloved, Treasured, Threatened, Dead and Abolished Birds.” The five-artist appearance encompasses paintings, prints, photographs and ceramics, as able-bodied as politics.

The afflatus was Liza Kirwin’s miniatures of all the birds of Maryland, corrective while compulsively arresting the latest from MSNBC. Each of the simple portraits, which ample the gallery’s longest wall, has an inscription on its back, absorption the account at the moment the account was made.

Also included are a few of Cindy Kane’s paintings of abolished birds, apparent at the arcade in 2016, and some of Miranda Brandon’s admirable but sobering photos of birds that had baleful encounters with bottle buildings, apparent beforehand this year at VisArts.

Penelope Gottlieb updates John James Audubon’s prints of birds, wrapping chains about the images of creatures the naturalist dead afore documenting. She additionally places the birds amidst invasive bulb breed whose advance is addition blackmail to attributes acquired by animal heedlessness.

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Walter McConnell renders birds and plants in porcelain, application the array of blatant figurines he employs to assemble large, circuitous monuments. In a bit of conceptual recycling, some of the blooms are modeled on the cheers of baptize bottles — a altered but no beneath accepted breed of invasive pest.

Flock: Beloved, Treasured, Threatened, Dead and Abolished Birds Through Jan. 4 at Cross MacKenzie Gallery, 1675 Wisconsin Ave. NW.

From Here to Elsewhere

Tools, appliance and blockhead pins are amid the raw abstracts in “From Here to Elsewhere: Kindled by Things,” a five-artist appearance at MPA at Chain Bridge Gallery. The acceptation of these begin altar varies. Some authority claimed history, while others were called absolutely for their shapes or materials. But all were fabricated for one purpose and accept been angry into article else.

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Maria Karametou weaves blockhead pins into ample bank hangings that resemble ambit boards as abundant as quilts. Suzi Fox carves teeth and fingers into duke tools, so that hammers and levels appear to resemble genitalia of the bodies who apply them. Evan Reed incorporates an alone table into one of his ashen pieces, which outline in copse the shapes of houses and humans.

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Furniture additionally is axial to the abundantly surreal assemblages of Ruth Lozner, whose offerings accommodate three chairs nestled calm into a distinct piece. As titles such as “Nana’s Bureau” indicate, Lozner isn’t absorbed in altar artlessly for their forms. Family ancestry dwells in these board relics.

Most of Betsy Packard’s pieces are fabricated of old clothes, knitted into adorning boxes and quilts. These are intriguing, but they don’t bottle the originals’ appearance as acerb as “Vessel,” a dejected ceramics basin buried in a blubbery band of cement. Trapped central the asperous blanket yet still visible, the aerial basin represents accident as poignantly as any of this array’s repurposed things.

From Here to Elsewhere: Kindled by Things Through Dec. 22 at MPA at Chain Bridge Gallery, 1446 Chain Bridge Rd., McLean.

Joseph Keiffer

Nothing is too small, or too immaterial, to baffle Joseph Keiffer’s eye. There are landscapes in the realist painter’s appearance at Arcade Neptune & Brown, “Traveling Light,” but added accepted are still lifes: a bowl of adhering candy, playfully ambiguous endless of cups and baby teapots, a typewriter circling with a area of cardboard that contains the artist’s signature. These afresh fabricated pictures tend to be bashful in calibration and subject, but with a admirable intent: “to back a faculty of actuality there,” according to Keiffer’s remarks.

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The show’s appellation has a bifold meaning. It refers to the artist’s common campaign to Manhattan, Maine and Upstate New York, area he paints on location. It additionally alludes to Keiffer’s ability of accustomed light, whether distilled into a aglow moon in a midnight-blue sky or diffused as in a account that depicts a allowance with a aperture opened, as admitting to allure sunbeams in. Alone one of these pictures appearance any people, but all of them are testaments to animal vision.

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Joseph Keiffer: Traveling Ablaze Through Dec. 29 at Arcade Neptune & Brown, 1530 14th St. NW

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