Monday, April 29, 2013

Free 'Porgy and Bess' concert Wednesday at St. John's, Lafayette Square

Alvy Powell, bass-baritone

Alvy Powell, the bass-baritone who has sung the role of "Porgy" more than 2500 times across the globe from San Francisco to La Scala to Carnegie Hall to Australia, will sing selections from George Gershwin's opera, Porgy and Bess, in a free noontime concert May 1 at St. John's Episcopal Church, Lafayette Square.

Accompanying Powell will be Michael Lodico, St. John's associate organist.

In 2007 Powell debuted with the Choral Arts Society of Washington singing "Porgy" which he has also performed with the Virginia Opera and with the Nashville Symphony which features him in its recording of Porgy and Bess.

Click here to see and hear Powell sing the duet, Bess, You Is My Woman Now with Charlae Olaker.

Other Powell achievements include Bartolo from Le Nozze di Figaro with The Virginia Opera, Sharpless from Madame Butterfly with the Connecticut Opera, Coline in La Boheme with the Tulsa Opera, and Opera Pacific, and as Timur in Turandot with Opera Carolina, Opera Grand Rapids, and the Cleveland Opera.

For the Vatican production commemorating the centennial of the death of Giuseppe Verdi, Powell was soloist in the Verdi Requiem with the Rome Opera. He is a Sergeant First Class in the U.S. Army and sings solo with its chorus.  Last week they performed at the dedication of the George Bush library in Texas.

His performance at St. John's is part of the church's First Wednesday Concert Series which begin at 12:10 p.m. and end at 12:45 p.m.  This year's series ends June 5 when Jeremy Filsell, artist-in-residence at the Washington National Cathedral, plays organ works by Bach, Dupre, and Rachmaninov.
St. John's Episcopal Church, Lafayette Square/Patricia Leslie
St. John's, known to many Washington residents as the yellow church at Lafayette Square, is often called the “Church of the Presidents.” Beginning with President James Madison, who served from 1809 to 1817, every president has either been a member of, or has attended services at St. John's. A plaque at the rear of the church designates the Lincoln pew where President Abraham Lincoln often sat when he stopped by St. John's during the Civil War. 

The concerts are excellent respites from Washington's usual weekday harried cycle.  Food trucks are located at nearby Farragut Square so listeners may "eat and run" back to the office.

Who:  Alvy Powell, bass-baritone, and Michael Lodico, organist

When: 12:10 p.m., May 1, 2013

Where: St. John’s, Lafayette Square, 1525 H Street, NW, at the corner of 16th, Washington, D.C. 20005

How much:  No charge

Duration: About 35 minutes

Wheelchair accessible

Metro stations: McPherson Square or Farragut North or Farragut West

Food trucks:  Located two blocks away at Farragut Square

For more information: 202-270-6265

Saturday, April 27, 2013

Civil War art leaves Washington Sunday

George N. Barnard, Ruins In Charleston, South Carolina, 1865, The Nelson-Atkins Museum of Art, Kansas City, Missouri.  Gift of Hallmark Cards, Inc./Michael Lamy

If you know little about the Civil War conflict in the U.S. (1861-1865), a trip to the Smithsonian American Art Museum this weekend will supply a quick education. And if you know a lot about the Civil War, this is a big show commemorating the war’s 150th anniversary you do not want to miss.

It is the presentation of the war’s pain and toll upon art and artists, said Eleanor Jones Harvey, SAAM's senior curator, who directed the show and wrote the catalogue. "What do these artists tell us?" about the way citizens felt after the war, she asked.

Generally excluded among the 57 paintings and 18 photographs are classic battlefield scenes which often come to mind when the War Between the States is mentioned. This exhibition, instead, provides rich detail about the common people and the war's effects upon them, told in mostly chronological order in arresting land and peoplescapes.

Some well-known artists represented are Winslow Homer (13 works in the show), Frederic Church (7), Sanford Gifford (8), Eastman Johnson (6) and Alfred Bierstadt (2).
Lesser known is Martin Johnson Heade whose Approaching Thunder Storm, 1859,  not only foretells the war but the style of Edwin Hopper (1882-1967) whose artistic fame came 75 years later.  

Martin Johnson Heade, Approaching Thunder Storm, 1859, the Metropolitan Museum of Art, gift of Erving Wolf Foundation and Mr. and Mrs. Erving Wolf, in memory of Diane R. Wolf, 1975

When speaking about slavery, President Abraham Lincoln used the words "coming storm," a term adopted by many abolitionist preachers for their sermons, one of whom bought this work.

Viewers will also find Uncle Tom and Little Eva, 1853, by Robert S. Duncanson, known as the first African-American artist to enjoy international acclaim and whose Still Live with Fruit and Nuts, 1848, was added last year at the National Gallery of Art.

While at the SAAM exhibition, leave several minutes to study Eastman Johnson's Negro Life at the South, 1859, which depicts blacks with various skin tones, alluding to mixed races.  See the white cat entering slave quarters.

Consider the significance of Julian Scott's Surrender of a Confederate Soldier, 1873.  The war had ended when Mr. Scott, a member of the Union army, painted a sympathetic portrait of his opponent to perhaps signify the unification of the country. 

Photographs by George Barnard show the "Hell Hole," at New Hope Church, Georgia in 1866, destruction in Columbia and Charleston, South Carolina at war's end, and the scene of General James B. McPherson's death July 22, 1864 near Bald Hill outside Atlanta.

Six photographs made of the aftermath of the Battle of Sharpsburg/Antietam  by Alexander Gardner are included.  The bloodiest single-day battle in American history only 70 miles from Washington, Sharpsburg claimed the lives of 22,717 men on September 17, 1862.  The pictures show bodies of Confederates upon the ground. Two weeks later President Lincoln visited the battlefield.

Alexander Gardner, President Abraham Lincoln with General George B. McClellan and officers, Antietam, October 3, 1862/Library of Congress, Wikimedia Commons
The exhibition ends with giant land and icescapes which, at first glance, a viewer may think belong to another collection, another time, but they show the turmoil experienced by Frederic Church, among others, during and after the war, in works which capture "defiance, fear, despair, and hope."

Frederic Edwin Church, Cotopaxi, 1862, Detroit Institute of the Arts, Founders Society Purchase.  The Bridgeman Art Library

The collection moves to the Metropolitan Museum of Art in New York where it will open Memorial Day, May 27, 2013.

Elizabeth Broun, SAAM's director, called the Civil War exhibition "one of the most important shows we've offered in a long time," and the "brainchild" of Ms. Harvey.

To obtain the art for the show took "elaborate negotiations" and persuading lenders to loan their works for the research-based presentation, said Ms. Harvey.

What:  "The Civil War and American Art"

When:  11:30 a.m.  - 7 p.m., through Sunday, April 28, 2013

Where:  The Smithsonian American Art Museum, Eighth and F streets, N.W., Washington, D.C.

How much:  Free admission

Metro station:  Gallery Place-Chinatown or walk from Metro Center

For more information:  202-633-7970 or 202-633-1000

Wednesday, April 24, 2013

A salute to Nashville's recycling star

The picture of Sherry Force on the plaque in her honor to hang at Granbery School

It was a beautiful day in the neighborhood at Granbery School in Nashville on Earth Day where the memory of environmental heroine Sherry Force was honored with an outstanding tribute.
"Happy Earth Day" proclaims the banner hanging at the entrance to Granbery School/Photo by Patricia Leslie

Hundreds of Granbery students, graduates, parents, and friends, many wearing green, turned out for a celebration of Sherry’s life.
,The "Gecko Echoes," a Granbery teachers' chorus, sang We are the World and Sweet, Sweet Spirit in tribute to Sherry Force/Photo by Patricia Leslie 
Members of the "Gecko Echoes" who paid tribute to Sherry Force in song are Scott Adkins, Kate Affainie, Lana Bogie, Lanee Ferguson, Daniel Hayes, Theresa Hill, M.L. Morlock, Carol Scruggs, Angela Spiller, and Stacie Stark/Photo by Patricia Leslie

Chirping birds in the trees sang with the children's and teachers' choruses which made melody with the flutists and original poems students composed to commemorate the achievements of Ms. Force and the Granbery community over the more than 20 years she directed the school's recycling program. 
The Oliver Middle School Flute Choir, under the direction of Susan Waters, played at the memorial for Sherry Force at Granbery School/Photo by Patricia Leslie

In 1989 with a single newspaper bin, Sherry started up recycling at Granbery.

Her teachings over time about the values of protecting the Earth literally affected thousands of students who enlightened their families about new practices which soon became habits.

Long before anyone knew what "wet dry" was all about, Ms. Force implemented a food composting program at Granbery, a model copied by the Tennessee Department of Corrections which was able to reduce its solid waste budget by 75 percent.

Under her leadership, the school earned local, state, regional, and national awards for environmental awareness and action.  
Sherry Force/SEIU

Many recycle every Saturday at Granbery where Ms. Force never failed to show, come snow, ice, piercing sun, or holiday.  It didn't matter if Christmas Day fell on a Saturday:  She was there.

On cold winter days she served cups of hot chocolate to volunteers, and in the summer, popsicles.  Sherry's liberal leanings occasionally got her into trouble and almost cost her job, she said last June, but she grinned and bore it and proudly recycled on.

Last December she was felled by sudden illness, but her spirit and legacy did not die.  Her efforts will live for a long time as Granbery children educate their own children who will teach still more about the importance of preserving the environment and making it better.  Her spirit can always be found, floating around those bins.

Sherry Force died December 19, 2012 at Vanderbilt Hospice.
At the Granbery celebration these boys read poems they composed in tribute to Sherry Force/Photo by Patricia Leslie
Granbery students sang What a Wonderful World and This Land is Your Land/Photo by Patricia Leslie
Granbery kindergarten teacher M. L. Morlock sang In My Life/Photo by Patricia Leslie
These students read poems they had written to honor Ms. Force and said they learned "one person can make a difference," just like Ms. Force said/Photo by Patricia Leslie
Lori Donahue, Granbery principal, praised Sherry Force and announced the creation of a scholarship in Sherry's honor which will send a student to an environmental camp/Photo by Patricia Leslie

A representative from the mayor's office read a proclamation commending Sherry Force.
The students were perfectly poised and listened attentively throughout the 45-minute program/Photo by Patricia Leslie
A student held the plaque dedicated to the memory of Sherry Force/Photo by Patricia Leslie
Jessi Force, Sherry's daughter, greeted friends and families after the service/Photo by Patricia Leslie
Student ushers stand beside the dogwood tree planted at Granbery School in Sherry Force's honor/Photo by Patricia Leslie

Monday, April 15, 2013

Crosses on the Mall

Crosses on the Mall April 12, 2013/Patricia Leslie

After a 24-hour vigil and the reading of victims' names, volunteers on Friday began removing from the National Mall, 3,300 crosses, Stars of David, and Islamic insignia, reminders of those killed by gun violence since the Newtown murders on December 14, 2012.

Crosses on the Mall April 12, 2013/Patricia Leslie

Groups which participated in the placement of the temporary grave markers on Thursday included the Sojourners,  Park View Kids Zone,  Religious Action Center of Reform Judaism, and PICO National Network (People Improving Communities through Organizing).
Crosses on the Mall April 12, 2013/Patricia Leslie

Their members were part of hundreds who converged on Capitol Hill to urge Congress to act to curb more gun deaths, and they made a difference:  16 Republican senators voted with 52 Democrats to continue the gun control debate, no small feat in times of heady money and influential lobbyists for the gun industry.

Crosses on the Mall April 12, 2013/Patricia Leslie

Sunday, April 14, 2013

Anti-droners rally at the White House

It was another pretty day in the neighborhood yesterday, another typical day with a protest out front of the White House with about four times the customary number of police cars available to handle the cherry blossom crowd and the protesters/Patricia Leslie

About 200 marched in front of the White House April 13, protesting the use of drones worldwide by the U.S. government/Patricia Leslie
The rally was organized by the ANSWER Coalition and was one of several demonstrations against drones held in major American cities/Patricia Leslie

At the anti-drone protest in front of the White House April 13/Patricia Leslie
The sign says "If you see something...Hello? I'd like to report my government."  He/she holds a telephone with the rest of the phone taped to the sign/Patricia Leslie
At the anti-drone protest in front of the White House April 13/Patricia Leslie
At the anti-drone protest in front of the White House April 13/Patricia Leslie
At the anti-drone protest in front of the White House April 13/Patricia Leslie
A "veteran for truth" at the anti-drone protest at the White House April 13/Patricia Leslie
Representatives from the Ivory Coast participated/Patricia Leslie
At the anti-drone protest in front of the White House April 13/Patricia Leslie
Words and symbols on the brown cardboard sign say "Make love, not drones"/Patricia Leslie
Among the victims listed on "Obama's Kill List" are the "Constitution, Rule of Law, Due Process, Magna Carta and the 10 Commandments"/Patricia Leslie

Saturday, April 13, 2013

State societies party with the Goo Goos

The longest serving member of the Tennessee State Society, Mary Lou Collector, partied with Sederia Gray, the Mississippi Cherry Blossom Princess, left, and Ashley Kimery, the Tennessee Cherry Blossom Princess, last week at Bobby Van's Grill on New York Avenue in Washington/Patricia Leslie
The number attending the 2013 Tennessee and Mississippi joint state societies' fete for their cherry blossom princesses at Bobby Van's Grill Thursday night was about half what it was last year, probably due to the omission of a third state society which swelled the 2012 crowd (Alabama). 
And maybe it was again lack of any munchies anywhere (not even little nuts or crackers at the bar),
Excuse, please, but "Goo Goos" (?) from Tennessee graced the tables. 
For hicks unaware, Goo Goos are chocolate pieces loaded with nuts and marshmallows, sure to please most everyone, especially mixed with beer and wine (?). Guess you had to be there to taste.
Mary Lou Collector, one of the party people always present, said she has been a Tennessee delegate to the National Conference of State Societies for 49 years.  A former resident of Copper Hill, Tennessee, Ms. Collector is a longtime resident of Washington.
Tennessee's cherry blossom princess, Ashley Kimery, is from Pasadena, California, and attends Vanderbilt.  Apparently,  the Tennessee State Society couldn't find any qualified native women from the Volunteer State to fill the bill and had to look elsewhere.  Someone needs to contact Cong. Steve Cohen (D-Memphis).

Monday, April 8, 2013

National Archives: 'Ain't I a Woman?'

President Abraham Lincoln "showing Sojourner Truth the Bible presented by the colored people of Baltimore, Executive Mansion, Washington, D.C., Oct. 29, 1864"/Library of Congress

No women will be represented on a panel of four with a moderator when the U.S. National Archives and Records Administration hosts a discussion April 11, 2013 about the 100 years between President Abraham Lincoln's Emancipation Proclamation issued in 1863 and the 1963 march on Washington.

On its calendar of events, Archives says the talk will focus on "the continuing struggle for freedom, justice, and equality during Reconstruction, as well as the Tilden-Hayes Compromise and Jim Crow laws."

The four scheduled panelists are C.R. Gibbs, Clarence Lusane, Roger Davidson, and Frank Smith. John Franklin will be moderator. I suppose Archives couldn't find a
qualified woman historian from the approximately 6,000 who teach history in postsecondary institutions to join its panel. Oh, that's right: Women's History Month was last month.

President Lincoln's proclamation applied to all slaves, men and women, one of whom affected was
Sojourner Truth (1797-1883), an abolitionist and a woman's rights advocate who worked tirelessly to improve conditions for former slaves and for women. In 1864 she visited the White House and met President Lincoln. No doubt she would be surprised to learn that more than 150 years later, women are still overlooked for important roles, even by federal agencies which are supposed to lead the way, I thought, for the rest of the nation.

Sojourner Truth was the first black woman to be honored with a bust at the U.S. Capitol (2009).
Ain't it 2013, National Archives?  

Below is a portion of Truth's "Ain't I a Woman" speech delivered at the Ohio Women's Rights Convention in Akron in the 1850s, as recalled by Frances Dana Barker Gage, and cited at Wikipedia:

"Dat man ober dar say dat womin needs to be helped into carriages, and lifted ober ditches, and to hab de best place everywhar. Nobody eber helps me into carriages, or ober mud-puddles, or gibs me any best place!"

And raising herself to her full height, and her voice to a pitch like rolling thunder, she asked. 

 'And ain't I a woman? Look at me! Look at my arm! (and she bared her right arm to the shoulder, showing her tremendous muscular power). I have ploughed, and planted, and gathered into barns, and no man could head me! And ain't I a woman? I could work as much and eat as much as a man – when I could get it – and bear de lash as well! And ain't I a woman? I have borne thirteen chilern, and seen 'em mos' all sold off to slavery, and when I cried out with my mother's grief, none but Jesus heard me! And ain't I a woman?"

Saturday, April 6, 2013

Mozart and Tchaikovsky on tap tonight at Dumbarton Concerts

A Far Cry/Yoon S. Byun
The Washington premier of Mason Bates's Icarian Rhapsody will debut tonight at Dumbarton Concerts'  last presentation of the season with a performance by A Far Cry, a 17-member string orchestra from Boston where it serves as the chamber orchestra for the Isabella Stewart Gardner Museum.

Mason Bates, a native of Richmond, Virginia, is the composer-in-residence for the Chicago Symphony Orchestra.

Tonight's program at Georgetown's Historic Dumbarton Church includes Mozart's Eine Kleine Nacht Music, Tchaikovsky's Serenade for Strings in C, and Piazzolla's Two Tangos.

Dumbarton Concerts, celebrating the conclusion of its 35th season, "is dedicated to assembling the most talented ensembles from around the world to create a concert season of the highest quality."

Tickets may be purchased online or at the door.  
Historic Dumbarton Church in Georgetown/Patricia Leslie

What:  A Far Cry at Dumbarton Concerts

When:  Tonight, April 6, 2013 at 8 p.m.

Where:  Historic Dumbarton Church, 3133 Dumbarton Street, N.W., Washington, D.C. 20007

How much:  $33, general admission, or $29, seniors and students

Parking:  Limited free parking is available at Anthony Hyde Elementary School at 3210 O Street, N.W. beginning at 6:30 p.m. until 30 minutes after the show's conclusion, or arrive in Georgetown early and drive the blocks until you find a spot. (You will.)  This is Georgetown, after all, where Metro rail is prohibited, however, buses may pass.

An hors d'oeuvre bar with beer and wine is available.

For more information:  202-965-2000

Friday, April 5, 2013

National Archives stings again

The sun sets near National Archives/Patricia Leslie
Dear National Archives, the least you could do is let the commoners, the peasants, standing out in the wind (gusts up to 29 mph) and the cold know that all we could have possibly hoped for Wednesday evening was nothing more than a video. 
No more than one stinking lousy video which we could have seen at home. 
On YouTube.

We were not going to get in the auditorium to see Rumsfeld and friends talk about their days at the White House since the Aspen Institute and the press had taken all the seats.  (“She’s from the London Times!" you exclaimed.  "Let her in!” Said my new line friend:  “Oh, where are our press passes?”) 

Why couldn’t you, National Archives, tell us in the first place that you had no serfs' seats left?

An "overflow" ticket for Wednesday's event at National Archives.  Contrary to the wording, "free tickets" were not distributed until 6:30 p.m./Patricia Leslie

Why couldn't you have saved our standing in line for one cold and breezy (wind chill = 44 degrees ) hour which we could have used more judiciously by walking up the street and attending an actual event, namely, the Civil War talk at the Smithsonian American Art Museum?

National Archives, you remind me of Marie Antoinette:   “Let them have video.”

Seeing a video of a live event is like seeing a picture postcard of Salvador Dali’s Last Supper. It cannot compare to standing in front of the real thing (on view at the East Building of the National Gallery of Art).  You just don’t get it, National Archives.

No, I did not hang around.  Yes!  I am angry at the wasted time, at my missing the Smithsonian talk which I would not have missed had you only said an hour earlier:  All that’s left is “overflow.”  Good grief.  You think "overflow" is a prize?

This was not the first time it has happened.

When U.S. Supreme Court Justice Clarence Thomas spoke a few months ago, one of your representatives came out and told us on the concrete, the weary, the tired, the oppressed, that Thomas had essentially filled up the house with 120 of his staff members, and the rest of the seats were taken by the press.  And we left.

Woe to the line standers, the taxpayers.

National Archives, why don’t you take a cue from the Smithsonian’s Air and Space Museum?  When their events are “oversold” and their auditorium is filled up and all that's left is "overflow," they tell the people ahead of time.  Because we hear the truth ahead of time, we can leave pronto if "overflow" is undesirable.  We don't stand around anticipating a seat to the actual production only to be disappointed at show time, like we are at your house. 

National Archives, please contact colleagues at the Smithsonian. Thank you.


A Wannabe Guest Who Stood in the Cold

Tuesday, April 2, 2013

Free organ concert Apr. 3 at St. John's, Lafayette Square

Benjamin Hutto, the director of music ministry and organist at St. John's Episcopal Church, Lafayette Square, and director of performing arts at St. Albans and National Cathedral Schools, will play Organ Treasures Old and New, an Easter recital of music by Bruhns, Handel, Stanford, Dubois in a free concert April 3 at St. John's.

Also in the program is Edward Hart's La Joie de Printemps (2012) which Mr. Hutto performed last year in its world premiere at Bethel Methodist Church in Charleston, S.C.  Mr. Hart teaches at the College of Charleston.

Benjamin Hutto, organist at St. John's, Lafayette Square
The concert will begin at 12:10 p.m. and end at 12:45 p.m.  It is part of the church's First Wednesday Concert Series which includes:
May 1: Alvy Powell, bass-baritone and Gershwin interpreter

June 5: Jeremy Filsell, artist-in-residence at the Washington National Cathedral, performing organ works by Bach, Dupre, and Rachmaninov

Nov. 6: Bianca Garcia and Michael Lodico performing Stephen Cabell's Kokopelliana (re-scheduled from last month's "snow day")

St. John's, known to many Washington residents as the yellow church at Lafayette Square, is often called the “Church of the Presidents.” Beginning with James Madison, president from 1809 to 1817, every president has either been a member of, or has attended services at St. John's, including the Obamas who worshipped here on Easter Sunday. A plaque at the rear of the church designates the Lincoln pew where President Abraham Lincoln often sat when he stopped by St. John's during the Civil War. 

The concert is an excellent refresher and break from what normally may be a pressurized lunch.  Food trucks are located at nearby Farragut Square so you can "eat and run" back to the office.

Who:  Benjamin Hutto playing Organ Treasures Old and New

When: 12:10 p.m., April 3, 2013

Where: St. John’s, Lafayette Square, 1525 H Street, NW, at the corner of 16th, Washington, D.C. 20005

How much:  No charge

Duration: About 35 minutes

Wheelchair accessible

Metro stations: McPherson Square or Farragut North or West

Food trucks:  Located two blocks away at Farragut Square

For more information: 202-270-6265

Monday, April 1, 2013

Dear National Gallery of Art: 'Tear down this wall'

The wall which screens a trailer at the West Building of the National Gallery of Art.  To the left is the Washington Monument and hiding in the trees on the right is the dome of the Smithsonian's National Museum of Natural History, all on the National Mall/Patricia Leslie
You know I love you, National Gallery of Art, or I wouldn't bring this up, but that old rotting, wooden fence on 7th which I've thought for years was temporary, is, for years, still there. The one that screens the landscaping equipment. The one with the ripped, chipped, buckling and peeling paint. It shows wear and tear. 
The warped and dilapidated fence at 7th and Madison at the corner of the West Building at the National Gallery of Art is an eyesore. The promotion on the fence promotes the current Color, Line, Light exhibition.  Have the Dykes seen this fence? Maybe a benefactor would pay to uproot it/Patricia LeslieDavid-Apollo couldn't take the feeble fence any more, and he left/Patricia Leslie

David-Apollo's maker would not approve, and, after seeing their furnishings, it's inconceivable the Kaufmans (a must-see, in the West Building) would hang around digs like this, but they are still there, waiting, I suppose, like the rest of us for this canker to heal.

The "privacy fence" at the West Building at the National Gallery of Art/Patricia Leslie

Have the Kaufmans seen this fence? May I suggest a "Friends of the Fence at the National Gallery of Art" to take it down/Patricia Leslie

It is so out-of-character for you, National Gallery of Art, contrasted with the beauty and glamour of your distinguished buildings and their contents!  This fence does not flow here.  It would flow at a junkyard in West Virginia (please excuse me, West Virginians, but you know what I mean). I don't think zoning laws permit junkyards within the confines of the District of Columbia.

It may look like a modern piece of art, but it's the deteriorating fence at the West Building of the National Gallery of Art/Patricia Leslie

Patricia Leslie

Since you are getting a face-lift at the East Building, can the doctors come down and uplift the old fence right outa there?   

The fence at the West Building of the National Gallery of Art/Patricia Leslie

I am surprised the National Park Service has not complained.  Are trailer parks allowed in D.C.?  Ones that stand for years? Did you know the trailer and fence show up as out-buildings on Google maps?

From a distance, the trailer, the peeling paint and age of the fence are not noticeable, so please stand back and do not look closely.  This is not a work of art/Patricia Leslie

What about planting some trees or big bushes as a privacy hedge? Your landscaping team does a magnificent job, but the fence, I imagine, is out of their hands.  

Your beauty is impinged by this eyesore. It's like the Mona Lisa with a band-aid across the corner of her chin.  It's time for the masters to come in and do their thing.  Surgeon:  Please heal this scar!

With deepest affection,

I ask you:  Which is more attractive?  Greens or peeling paint? The vehicles and equipment could be stored at the U.S. Capitol which is usually empty most months of the year/Patricia Leslie
Greens and pieces of the Earth are more attractive than the eyesore of a fence which has been standing for years at the West Building of the National Gallery of Art/Patricia Leslie