The Washington Post
by Mark Jenkins
As cherry blossom season withers, floral displays continue at several local art spaces. Perhaps the most extensive s Jane Haslem Gallery's Endless Flowers, with 59 prints and paintings by 20 American artists. These range from the realism of Elizabeth Weiss' small, precise oils to the impressionism of Kaiko Moti's etching and aquatint; and from the delicacy of Gabor Peterdi's monochromatic-drypoints to the pop-art sunniness of Beth Van Hoesen's prints of - what else? - poppies. (There are also two witty Van Hoesen prints that place blooms before flowers wallpaper.)
Much of the show's appeal stems from vibrant colors, but several artists stress form by sticking to black and white; Richard Ziemann's engravings and etching are all soft grays suggesting pencil, while Karl Schrag's lithographs are darker and looser, simulating charcoal. Both Weiss and Neena Birch employ natural hues, but they place them in high relief with black backdrops. Only a few of the pieces consider flowers in an everyday context; most of these artists prefer their sensuous nature in isolation, whether in a single bloom or the riot of foliage in George Harkins' watercolor, Field Floral. If the selection is not quite endless, it's more than sufficient to illustrate many ways of blooming, and nearly as many of seeing.