JENNY WU’s “Ai Yo!” | Reviewed by Christine Ji for The Georgetown Voice

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LEISURE

Ai Yo!: Jenny Wu’s exhibit brings new energy to Morton Fine Art

By Christine Ji

Published March 2, 2023

Courtesy of Morton Fine Art, Photo credit: Jarrett Hendrix

Once a warehouse, the unassuming brick building sitting in the corner of NoMa on 52 O Street is now home to a variety of art studios and galleries. One of them is Morton Fine Art, which just launched Ai Yo!, a selection of 21 sculptural paintings by artist Jenny Wu. The gallery is spacious and well lit, and the walls are decked with Wu’s colorful works. I was not entirely sure what a sculptural painting entailed, but I was curious to learn more. 

“Hundreds of people came for the opening day,” Amy Morton, curator of Morton Fine Art, said. I can see why: the works are fun and unconventional. Wu creates her art by pouring layers of latex paint on top of each other, a technique that she told the Voice took her almost a decade of trial and error to develop. Once the layers have dried—a process which can take up to four months—Wu slices the sheets into varying sizes and meticulously rearranges them on top of a wooden panel to create patterns. She then applies a resin coating over the whole contraption to add a glossy finish. The result is many colorful, mosaic-esque creations of varying color schemes and patterns. 

Wu’s creative combination of painting and sculpture makes her work quite the treat to see in person, as one can more closely see the textures and topography created by the latex chunks. The drying and cutting process leads to cracks and imperfections in the individual latex units, meaning no two fragments are identical. 

“The paint crinkles quickly, and the liquid paint becomes something I can hold,” Wu said. 

The centimeter-sized latex cube sample Morton hands me to examine resembles a vibrant chunk of sedimentary rock or a soil specimen. It has the quiet elasticity of a bouncy ball or firm eraser. Considering that Wu uses these three dimensional units to create her visual art as opposed to a more traditional medium like paint, it is clear “sculptural painting” is an apt term to describe her work. By using these latex layers as her instrument of creation, Wu liquifies the boundaries between the two media. 

“They really need to be experienced in person, because it is very hard to capture the textures and colors with just a photo,” Morton said. 

Regarding the title of the exhibit, Wu explains that the phrase Ai Yo! is an interjection used in many different situations in her hometown in China, from communicating feelings of awe to displeasure. 

“The meaning depends on the context. It is both general and specific,” Wu said.  “I think most human beings, when they look at those four letters together, they can pronounce it in some way, even if they don’t speak Chinese. You can pronounce it any way you want, as long as it adds emotion.” 

The inclusive and welcoming nature of the exhibit title leaves a lot of space for viewers to interpret the pieces, proving that Wu’s art is something that transcends language barriers. 

After going to graduate school at American University, Wu found that there were more galleries and organizations focused on promoting smaller artists here in D.C. compared to other places. Given the political and international significance of D.C., Morton remarks that it’s “important to keep the conversation expanding through art and push museum tipping points.” Galleries like Morton Fine Arts and the artists that they partner with are critical in continuing to expand the boundaries of art and make meaningful statements about the world we live in. 

Wu’s mission complements that of Morton Fine Art curator Amy Morton’s well, resulting in a synergistic collaboration. Morton chooses her artist partners with careful deliberation, looking for “substantive artwork that is both timeless and timely.” Wu’s work fits the bill, leaving a lasting impression through the unique medium and jarring titles. The political overtones of her work reflect aspects of the local cultural climate, arising naturally out of the close proximity to Capitol Hill. Both Morton and Wu agree that the D.C. art scene is not as bustling or developed as, say, New York City, but the city is fertile ground for emerging artists. 

The artwork titles are equally delightful and thought-provoking as the visual components. Wu draws inspiration for these creative titles from Twitter, Instagram, and other forms of social media. “I want my titles to be more abstract, rather than purely descriptive, so they can create more space,” says Wu. 

Though all of these pieces are abstract, their titles provide much food for thought that prompts the onlooker to think about the pieces more deeply. Some titles are humorous, like “70 Year Old Intern Waiting for His First Real Job” (2022). For this piece, Wu has arranged long warm toned strips with slices of green in the middle into hexagons, juxtaposing the chaos of the latex strips with the order of the polygons for a sense of contained frustration.  Others are damning, like “Spent $50.4 Million on TV Ads to Brag About Giving Local Businesses A Total of $100,000” (2022). This piece is an amalgamation of small red, white, and blue pieces that emanates a more chaotic, overtly political energy.

“Ruthkanda Forever” (2022) and “Carefully Editing an Email Response” (2021) stand out in particular. The latex layers that make up “Ruthkanda Forever” are varying shades of blue with the occasional yellow stripe, arranged in a lightly undulating formation. From a distance, the piece looks like gently rolling ocean waters reflecting moonlight, which, when combined with the title, perhaps represents how our collective pop culture consciousness has digested and lionized RBG and the Black Panther franchise. “Carefully Editing an Email Response” features paint strata delicately arranged in tessellating hexagons, resembling the rigid and meticulous process of combing through a professional email for typos. Other interesting titles include “$1200 That Should Be More Than Enough” (2022) and “I Will Not Get Bit By Capitol Fox” (2022). Georgetown students are sure to get a kick out of the latter, considering the heavy political preprofessional inclinations of the general community. 

One way Wu pushes artistic boundaries is by exploring different usages of color.

“Right now, the way I choose colors is more based on the aesthetic. Like, if I do some purple with some blue, a little hint of orange might look good in there based on the similarity of the colors. But I want to explore more ways of combining colors and patterns together,” Wu said.

Whatever direction Wu takes her work in, she will continue to push boundaries and set new creative benchmarks. Any vaguely art-curious Georgetown students should be sure to take advantage of the opportunities we have in DC and explore the unique flavors of local art here.

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Christine Ji
Christine is a senior in the MSB majoring in Finance and minoring in History. She harbors unhinged opinions on goldfish, Garfield, and The Strokes.

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More: art exhibit, jenny wu, morton fine art, museum review

Available artwork by JENNY WU

Interlocutor Interviews | JENNY WU | Ai Yo!

INTERLOCUTOR

Feb 14

Exhibition Feature – AI YO! by Jenny Wu

Exhibition Features, Multidisciplinary Artists

Photo by Jarrett Hendrix

Morton Fine Art is pleased to announce Ai Yo!, a solo exhibition of sculptural paintings by artist Jenny Wu. Continuing an innovative latex paint and time-based practice the artist has been implementing for nearly a decade, Ai Yo! features Wu further exploring composition, color, expertise, control, chance and surprise—favoring discovery over mastery.

Long interested in tactility, in-betweenness, embodiedness, and construction (Wu has a background in architectural studies), the exhibition questions our basic assumptions about what paintings and sculptures can be. Wu’s first solo exhibition with the gallery, Ai Yo!, will be on view through March 8, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).

Photo by Jarrett Hendrix

CURATORIAL STATEMENT by Amy Morton

Engaged in an innovative hybrid sculptural painting practice, Jenny Wu is a rigorous, focused and accomplished artist with a humble nature and good sense of humor.  Her practice acknowledges—and embodies—the sensational, perceptual and temporal properties of her materials, particularly her enlivening applications of latex paint and glossy coating of resin. Having cultivated a deep material wisdom, Wu is able to transform her materials from their original forms and then crucially present them within new, engrossing formal contexts. Deeply admiring Jenny’s vision and art practice, I am thrilled to be able to continue to share this transformative body of work with Ai Yo!, Wu’s first solo exhibition with the gallery.

Briefly Inhabit a Fictional World, 2022 – Latex paint and resin on wood panel – 18 x 18 x 2.5 in.

Hello to That One Person Who Nods Along Encouragingly During Presentations, 2022 – Latex paint and resin on wood panel – 36 x 12 x 2.5 in.

ARTIST STATEMENT by Jenny Wu

I could never sit still when growing up, and my mother found an alternative method to make me sit still—classical art lessons. These childhood lessons  built a foundation  that has led to my current cross-disciplinary practice in painting, sculpture, installation, video, and participatory projects. My work acknowledges the sensational and perceptual properties of materiality and then transforms the materials, from their original forms and purpose, to present them within new contexts. 

My current sculptural paintings transform liquid paint into sculpture, a process derived from making oil on canvas paintings and discovering the many layers of oil paint beneath the surface. Those layers of oil paint embody linear time, repetitive processes, and material characteristics. Now, I exemplify the layering by pouring a thick coat of latex paint one color at a time on a silicone surface, letting each color dry completely, and repeating the process many times. The colors of each layer are premeditated. I later cut the dried paint to reveal the layers of cross-section, which I then use to assemble sculpturally on a flat surface. The cross-section juxtaposes order and chaos: the consistent order of paint from old to new, and the imperfection of subtle differences in thicknesses. Each piece follows a specific pattern, uniting the differences to present a systematic imagery. Resin coating is added later on to amplify the colors, as well as to protect the paint. These works question our basic assumptions about what we consider paintings can be and what sculptures can be.

The Analysis is Severely Limited By My Lack of Understanding of What I am Doing, 2022 – Latex paint and resin on wood panel – 36 x 24 x 2.5 in.

Have Not Overthrown a Government Since 1954, 2022 -Latex paint and resin on wood panel – 36 x 24 x 2.5 in. 

Ai Yo!, will be on view through March 8, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).

Check out our coverage of other current and recent art exhibitions

All images courtesy Morton Fine Art and the artist

Available artwork by JENNY WU

JENNY WU | Morton Fine Art | See Great Art

ART IN THE NORTHEAST FEMALE ARTISTS

Jenny Wu art exhibition at Morton Fine Art D.C.

BY CHADD SCOTT POSTED ON FEBRUARY 8, 20230 COMMENTS

Jenny Wu headshot. Courtesy Morton Fine Art and the artist.

Morton Fine Art presents “Ai Yo!,” a solo exhibition of sculptural paintings by artist Jenny Wu. Continuing an innovative latex paint and time-based practice the artist has been implementing for nearly a decade, “Ai Yo!” features Wu further exploring composition, color, expertise, control, chance and surprise—favoring discovery over mastery. Long interested in tactility, in-betweenness, embodiedness, and construction (Wu has a background in architectural studies), the Jenny Wu art exhibition questions our basic assumptions about what paintings and sculptures can be. Wu’s first solo exhibition with the gallery, “Ai Yo!,” will be on view from February 8 – March 8, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).

Underpinned by transformation and embodying time, material characteristics and chance, Wu’s sculptural paintings operate as both built objects and records (of labor, gesture, accident). Generating degrees of liminality, Wu’s body of work is an engine to multiplicity. To create each work, Wu pours thick coats of latex paint onto silicone surfaces, allowing each layer to dry completely before adding another layer of latex in turn to dry. The results are rich and vividly varied strata of dried paint, which Wu then cuts to reveal layers of colorful cross-sections, often touched by chance elements like cracking.

Using these cross-sections as her base units, Wu assembles her paintings, building up relief and composition—piece by piece—on wood panels. Both the cross-sections and their eventual sculptural forms veer towards an order out of serendipity and planning. Following prearranged patterns, Wu erects pulsing grid-forms and mesmerizing reliefs of playful, shimmering paint, completed with a top coat of glossy resin to amplify her vibrant palette. Transforming latex paint from its original, liquid form—before fashioning it within new contexts and forms—the artworks acknowledge an abiding passion for the sensational and perceptual properties of materiality.

Titles play an important role in Wu’s practice, in some cases mirroring her process of cutting and rearranging layered materials: Too Heavy to Carry to the British Museum (2022); 70 Year Old Intern Waiting for His First Real Job (2022); Hello to That One Person Who Nods Along Encouragingly During Presentations (2022). Sourcing her titles from Twitter (including a number of Donald Trump’s tweets, an approach that ended in 2020), Wu’s titling compounds the humorous and constructive elements explored in “AiYo!,” the meaning of which too is both layered and specific.

A regional expression in Nanjing, China, Wu’s hometown, “Ai Yo”’s meaning depends on how you say it, ranging from “impressed” to “suspicious.” Existing only as an expression, there is no character for “Ai Yo;” it can only be said and spoken. Unfixed and open, “AiYo” accrues yet an additional context in Wu’s selection of it as her exhibition’s title. Balancing clarity and surprise, “Ai Yo!” is the result of countless juxtapositions and an expanding set of contexts.

About the Artist

Jenny Wu is an artist and educator. She is currently a visiting assistant professor of fine art at Trinity College in Hartford, CT. Wu’s work acknowledges the sensational and perceptual properties of materiality and then transforms the materials from their original forms and purpose to present them within new contexts.

About Morton Fine Art

Founded in 2010 in Washington D.C. by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice.

Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African and Global Diaspora.

Available Artwork by JENNY WU

JENNY WU | Ai Yo! | Washington City Paper

Ongoing: Jenny Wu’s Ai Yo! at Morton Fine Art Gallery

Is it architecture? Or painting? Perhaps some tapestry of the two? And does genre even matter? What is this instinct to sort, to categorize? Is it intrinsically human, or an invented construction? These are some of the many questions prompted by Jenny Wu’s colorful and layered pieces, on view this month at Morton Fine Art. Wu’s collection, titled Ai Yo!, is both a celebration of multiplicities and a reflection of liminality. Like many artists, Wu begins with a wood panel canvas and paint. But she immediately diverges. Like a pastry chef or chocolatier, Wu pours liquid latex paint into silicone molds repeatedly over extended periods of time until she’s built her own new kinds of ‘paint chips.’ She splices them together with her precise, yet whimsical hand, to reveal brilliantly colored miniature confections, each barring their own signature markings. She then assembles these to create her cheekily titled works (yet another invitation for complexity), such as “Hello to That One Person Who Nods Along Encouragingly During Presentations” or “Spent $50.4 Million on TV Ads to Brag About Giving Local Businesses A Total of $100,000.” In one piece, titled “Too Heavy to Carry to the British Museum,” hot pink and tangerine strips (think sour rainbow candies) stacked like books leave enough negative space for the glossy yellow underlayer to shine through. And in another joyful, defiant, complicated piece, lavender, turquoise, and bubblegum paint layers fit snugly next to each other, like sugar-high kids on a Friday night sleepover. When you step back, the interplaying modules evoke a well-loved floor rug, or a cross section of some distant technicolor planet’s malted core. Another title Wu selected reads: “It’s Not Finished But I Am.” The exhibit is on view through March 8 at Morton Fine Art Gallery, 52 O St. NW, #302. mortonfineart.com. Free, by appointment. —Emma Francois

Jenny Wu’s “It’s Not Finished But I Am,” 2022; latex paint and resin on wood panel, 36 x 24 x 2.5 in. Courtesy Morton Fine Art and the artist

Available Artwork by JENNY WU

Natalie Cheung | Alternative Process Photography | Video of her solo exhibition “Made of Light” at Morton Fine Art

Video credit: Jarrett Hendrix

Morton Fine Art is pleased to announce Made of Light, a solo exhibition of alternative process photography and sculpture by the artist Natalie Cheung. Utilizing time, gesture and much technical expertise, the artist captures lived experience directly onto the surface of her photosensitive paper and microplastic sculptures. Cheung’s second solo exhibition with the gallery, Made of Light will be on view from October 15 to November 12, 2022.

A formally-trained photographer, D.C.-based artist Natalie Cheung no longer owns a camera. Having studied film photography during the advent of the medium’s “digital revolution,” Cheung’s education was heavily centered on the influences of light, duration and the chemistry of making a photographic print. As traditional photography began to increasingly rely on the pixel, Cheung continued to explore these elements in the darkroom without the aid of film images. What resulted was a microhistory of artistic development, her dive into abstraction mirroring the revolt against mimesis undertaken by painters in the late 19th century – ironically, in response to photography’s initial ascent at that time.

Appropriately, then, Cheung’s experimental photography takes on a playful relationship with art history itself. In the artist’s “Facsimile” series, Cheung intuitively plays with light, chemical emulsion and photographic paper to create colors and shapes that pay homage to art history’s previous regimes. From the nautical wash of a Turner landscape to the relaxed staining of Helen Frankenthaler’s abstractions, Cheung’s free-associative style inclusively riffs on prior forms, indebted to her realization that no shape or configuration can ever be truly original. The humility of homage in Cheung’s work is balanced in turn by her technical mastery; her developmental ingenuity is so acute that she is able to translate impulse, memory and reference onto photosensitive paper with the subtlest of gestures. With this process itself having become second nature, Cheung’s predilections as an artist and preoccupations as a citizen are able to make their way transparently into her work.

In the artist’s “Intermediaries” series, Cheung uses slow-reacting cyanotype to create abstract works that seem to map islands, river deltas or erosion itself. In a process that can take up to several days, the artist allows her chemistry to evaporate naturally, in a manner indicative of the slow creep of time and loss of water that defines humanity’s relationship with climate catastrophe. Taking up the same process as was historically used to make blueprints, Cheung’s Intermediary works are like designs for a future of ceded control, capturing the chaos of durations we are not accustomed to monitoring.

Concern for the climate also comes out in the artist’s “Reclaim” sculptures – topographic models of islands constructed from nylon flocking, a non-recyclable form of compressed microplastic. Inspired by man-made landmasses such as Dubai’s Palm Jumeirah or even the Great Pacific Garbage Patch, Cheung’s works hang in lucite display cases like real estate offerings: a scathing reminder that no man is an island.

Born in Virginia to a first-generation Chinese family, a formative artistic influence for Cheung was her mother’s practice of intricate chuāng huā papercuts, made on sheets of printer paper in honor of the Lunar New Year. Incorporating another form of alternative process photography, Cheung’s “Rock. Paper. Scissors.” series places these designs against a darkroom projector, blowing them up to monumental reliefs captured on photographic sheets. The resulting works carry the grandiosity and simplicity of Barnett Newman’s abstractions, though they are weighted with the significance of Cheung’s history and heritage. Open to the element of chance as she lets light slip in between the slivers of these shapes, such works are a synthesis of the artist’s great themes: balancing inevitability and accident in a delicate dance.

Natalie Cheung (b. Falls Church, Virginia) received her MFA in Photography from Tyler School of Art in Philadelphia and her BFA in Photography from the Corcoran College of Art + Design in Washington, DC. Her work has been exhibited nationally and internationally; she has been profiled in Washington Spaces Magazine and has had work represented in numerous collections including the Museum of Fine Art, Houston and the DC Commission on the Arts and Humanities. Cheung currently teaches at the George Washington University and has previously taught at the Corcoran College of Art + Design and Temple University, Tyler School of Art. She has been represented by Morton Fine Art since 2014.

Available Artwork by NATALIE CHEUNG

Morton Fine Art | Washington City Paper

POSTED IN ARTS

The Little Art Galleries That Could and Do

Check out these art exhibitions off the beaten path.

by STEPHANIE RUDIG

SEPTEMBER 22ND, 2022

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There’s no shortage of blockbusters coming to D.C.’s museums and galleries this fall. The Air and Space Museum will reopen on Oct. 14 following an extended construction project. The Rubell Museum DC will have its hotly anticipated opening on Oct. 29, creating a new venue for contemporary art in the city. And selfie snappers are sure to assemble for the last few months of One With Eternity: Yayoi Kusama in the Hirshhorn Collection and Mexican Geniuses, a new immersive experience featuring the work of Frida Kahlo and Diego Rivera. These outings are fun and all, but some of the most interesting and unexpected art can be found away from the crowds and tucked into some of D.C.’s coziest spaces.

One of the tiniest of these is Transformer, a gallery whose emphasis on emerging and experimental artists has made it one of the most exciting places in the city for artistic exhibitions and events. In June, Transformer celebrated its 20th anniversary, and it will continue to have special events through the end of the year. Starting Sept. 17, the gallery will open its 19th Annual DC Artist Solo Exhibition, which features Commemorative Strands by Artise Fletcher this season. The D.C.-born and based artist has created textiles, films, and photographs around the topic of Black women’s hair. Many of the works feature hair as a material or storytelling device. In addition to the show, a series of programming invites audience members to consider wider cultural meanings and personal feelings around hair and beauty. Events include a panel and discussion as well as a hands-on activity to make your own commemorative cloth.

The spaces at 52 O Street Studios aren’t just used as studios—Amy Morton has hosted her contemporary art gallery Morton Fine Art there for the past four years. Without a street-level entry, the gallery is open by appointment only, which is great for gallery-goers who want to linger over the work uninterrupted, or interested buyers who want to spend some time with an artist’s work. MFA represents a wide variety of artists from around the world, as well as a good slice who work in the D.C. area. This fall, MFA has two exhibits that capture the best of these worlds. Take Me to the Water features mixed-media works by Kesha Bruce, an artist and activist whose bright works explore artmaking as a form of slowness and self care. Following that, Natalie Cheung’s exhibit Made of Light opens, showcasing her experiments with camera-less photography using light sensitive paper, movement, and stencil techniques.

Entertaining and dinner parties are extremely in style, and perhaps no dinner party will be more stylish than an exhibit of tablescapes at Friends Artspace in Arlington. Mise En Place continues the gallery’s habit of showing functional art and design objects as well as fine art in the garage that curator Margaret Bakke has converted into a miniature gallery. A large table fills most of the space, and all sorts of tableware covers every available centimeter of the surface. There’s place settings of course, but also goblets, candlesticks, mugs, sugar bowls, tureens, pitchers, vases, butter dishes, floral arrangements, chandeliers, and more. The exhibition’s announcement proclaims, “people come and go but glassware is basically forever.” Local artists and designers including Hadiya Williams, Catherine Satterlee, and Dannia Hakki are among those who get a seat at this table.

Commemorative Strands runs through Oct. 22 at Transformer, 1404 P St. NW. transformerdc.org. Free. Take Me to the Water runs through Oct. 11 at Morton Fine Art, 52 O St. NW. mortonfineart.com. Free, by appointment.  Made of Light runs Oct. 15 through Nov. 12 at Morton Fine Art, 52 O St. NW. mortonfineart.com. Free, by appointment. Mise En Place runs through Dec. 10 at Friends Artspace, 2400 North Edgewood St. Arlington. friendsartspace.com. Free, by appointment

Available Artwork by KESHA BRUCE

Available Artwork by NATALIE CHEUNG

NATALIE CHEUNG and NATE LEWIS Reviewed in The Washington Post

WASHINGTON POST ~ In the galleries ~ April 21, 2017

 Natalie Cheung: Increments in Time and Nate Lewis: Tensions in Tapestries On view through April 26 at Morton Fine Art, 1781 Florida Ave. NW. 202-628-2787. mortonfineart.com.

Natalie Cheung’s “31 Hours,” cyanotype on paper, on view through April 26 at Morton Fine Art. (Natalie Cheung/Courtesy of Morton Fine Art)

To judge by their titles, change must be the subject of Natalie Cheung’s cyanotypes. Each picture in her Morton Fine Art show, “Increments in Time,” is named after a period of as little as one and as many as 76 hours. This is how long it took water to evaporate from the photographic paper, yielding studies in blue, black and white.  The D.C. artist has turned the process, once used for architectural blueprints, into something abstract and unpredictable. Her pictures may resemble Rorschach tests and microscopic views, but all they truly illustrate is the process by which they were made. Their poetry is an accident of chemicals and duration.

Nate Lewis’s “Signals II,” hand-sculpted paper photo print, at Morton Fine Art. (Nate Lewis/Courtesy of Morton Fine Art)

To Nate Lewis, whose “Tensions in Tapestries” also is at Morton, the African American body is a landscape to be transformed. He cuts and scrapes black-and-white photographic portraits, removing pigment while adding patterns and flocked textures. The effect recalls African weaving and skin embellishment, but also reflects the influence of the D.C. artist’s job as an intensive-care nurse, seeking to heal the most damaged. In pieces such as “Funk and Spine,” the surface of a woman’s body is almost entirely remade, yet sinew, bone and essence endure.

– Mark Jenkins

Natalie Cheung: Increments in Time and Nate Lewis: Tensions in Tapestries On view through April 26 at Morton Fine Art, 1781 Florida Ave. NW. 202-628-2787. mortonfineart.com.

VONN SUMNER in American Contemporary Art Magazine

American Contemporary Art Magazine, September 2011

Vonn Sumner's Exhibition "Late Empire Style"

To view available artwork by Vonn Sumner please visit the following link:

http://www.mortonfineart.com/#/Collaborating Artists/Vonn SUMNER/1/caption