Denatured, curated by Sarah Burford
October 6 – November 12, 2017

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Technology and the Natural World
Curated by Sarah Burford
Mentor Curator: Rebecca Cross

October 6 – November 12, 2017
Opening Reception: Friday, October 13, 7-9pm
Closing Reception: Sunday, November 5, 5pm

Ryan Hoover, Joanna Platt, Rachel Schmidt, Fabiola Yurcisin

Technology has dramatically changed human relationships with the natural world, yielding both revelatory and destructive results. Imagined futures, ghostly pasts, the detritus of technological progress, and tensions between the organic and artificial are all central to the pieces in this exhibition. In video, mixed media, creative coding, and 3D printed works, these artists offer deep and nuanced visions of our impact upon, and contemporary relationship to, the natural world.

Image: Ryan Hoover, Arborescent Algorithm Series – Seed 5008-AL, 2015, nylon 3D print, aluminum, walnut, 27″ x 15″ x 9″

Macho – The Mask of Masculinity, curated by Rebecca Cross
April 28 – May 28

Macho – The Mask of Masculinity
DCAC’s Curatorial Initiative
Curated by Rebecca Cross
Apprentice Curator: Sarah Burford

Exhibition Dates: April 28 – May 28, 2017

Opening Reception: April 28, 7-9pm
Closing Reception and Artist Talk: May 12, 5pm

Damon Arhos, Michael Corigliano, Hector Emanuel, Timothy Johnson, Mark Newport, Joseph Daniel Robert OLeary, Kate Warren, and Dawn Whitmore

Definition from the Oxford English Dictionary:
1. a man who is aggressively proud of his masculinity.

“Macho” takes as its point of departure recent debates about the role of men in contemporary society. As we began exploring ideas for this exhibition, we continuously came across examples of work showcasing people who were “projecting” an air of strength and masculinity rather than openly revealing their authentic male selves. These remarkable artists all react, in their own ways, to the promulgated notion that “masculinity” itself is not a trait that simply exists, but rather one that needs to be worn like a mask. Masks of real and imaginary uniforms, physical poses and symbolic props, aid the figures in projecting this shroud of self-aggrandizement. The concept reaches far beyond the limits of a single exhibition, but we present this provocative group of artists making engaging, surprising and challenging art around this subject as a means of furthering the existing dialogue, exposing both the disturbing and comical evocations of our title to engage with the conflicting realities of post-modern manhood.

IMAGE: Michael Corigliano, Stumbling Forward, 2015, Photographs, 84″ x 96″

Public Displays of Privacy, curated by Martina Dodd
September 9 – October 16

Nakeya Brown, Self Portrait in Shower Cap, 2015, archival inkjet print on cotton rag, 16” x 20”

Public Displays of Privacy
DCAC’s Curatorial Initiative
Curated by Martina Dodd
Mentor curator, Thomas Drymon

September 9 ­- October 16, 2016

Opening Reception: Friday, September 9, 7-9 pm
Performance + Second Viewing: Thursday, September 29, 6:30-­8:30 pm
Artist Talk and Closing Reception: Sunday, October 16, 5 pm

Nakeya Brown, Adrienne Gaither, Danielle Smith, Khadijah Wilson

DC Arts Center presents Public Displays of Privacy, an exhibition featuring four local women artists who explore the complexities of identity, memory and subjectivity in relation to Black
Womanhood. Performance + second veiwing on September 29 at 6:30 pm: Special performance of Communal Restriction by Khadijah Wilson and Lionel Frazier White. Bond together by a mask constructed by Wilson, the two struggle for independence as they visually transform from collective unit to individual entities, forcing their viewers to reexamine the narratives of self and community.

With a particular focus on hair, the body acts as a site of agency for Nakeya Brown,​ as her photographs draw attention to the ways beauty standards can reflect politics, cultural memories and racial identities. Khadijah Wilson’s ​installation physically binds her subjects together using deconstructed material and applies pressure to their communal existence, causing them to literally tug at their freedom. Their strained necks mimic the double burden of race and gender experienced by Black women, while their limited mobility hints at a loss of individual agency.

Using images of family members as her source of inspiration, Adrienne Gaither​ investigates the social
constructs and constraints of familial ties by “merging traditional techniques of painting and digital
manipulation.”  Danielle Smith’s​ soft brush strokes portray intimate moments of joy, pain and vulnerability as she distinguishes between reality and perception. This group exhibition blurs the lines set in place to demarcate what is kept private and what is for public consumption and examines how personal and collective experiences shape our existence

Sip and Paint Van Gogh’s The Starry Night, curated by Thomas Drymon
April 29 – May 29

Sip and Paint Van Gogh’s ​The Starry Night
DCAC’s Curatorial Initiative
Curated by Thomas Drymon
Apprentice curator: Martina Dodd

April 29 ­- May 29, 2016

Opening Reception: Friday, April 29, 7-­9 pm
Happy Hour: ​Thursday, May 19, 6:30­-8:30 pm
Artist Talk, Q&A, and Reception: Sunday, May 22, 5-7 pm

In Sip and Paint Van Gogh’s The Starry Night, curator Thomas Drymon brings together 34 artists to interpret the same work of art—Van Gogh’s The Starry Night. As an image, The Starry Night has been so overly commodified that one might question its value in art history. In asking the artists in the exhibition to participate in the commodification of this work, we examine the intrinsic value of The Starry Night further, as well as the value of fine art in contemporary culture, and how each artist chooses to interpret the piece and how it relates to their own practice.

Studio Sacrilege, curated by Kayleigh Bryant-Greenwell
September 11 – October 11

Studio Sacrilege
DCAC’s Curatorial Initiative
Curated by Kayleigh Bryant-­Greenwell

September 11 ­- October 11, 2015

Opening Reception: Friday, September 11, 7-­9 pm
Gallery Talk: Sunday, October 11, 5 pm

Amy Hughes Braden, Roxana Geffen, and Jackie Milad

We’re conditioned as respectable art patrons to appreciate the art we love at a distance – from beyond the other side of the glass. We’re also conditioned to respect the preciousness of a work of art – that it should be preserved, treasured, literally placed on a pedestal and otherwise untouched, unmoved, indifferent from ourselves and our changing environment. We believe in the permanence of art so much so that “adaptability” is an unheard of characteristic. Art exists in a fixed state and is not thought of as being capable of change.

Surprisingly artists – at least many contemporary artists – feel quite differently. While to us, the art patrons, the mere thought of changing an established artwork brings fears of sacrilegious destruction happening in war-­torn lands across the globe, to artists Amy Hughes Braden, Roxana Geffen, and Jackie Milad, it is simply part of the art-making process. Studio Sacrilege takes the viewer down the rabbit hole of the artist’s real art-making existence, where perfectly good canvases already adorned by paint at the artist’s hand, are frequently reused to create new art – or expand upon ideas from the original piece. Here, the audience must divorce itself from expectations of the exalted artwork to fully appreciate the power of the process. Each artist presents confirmed masterworks worthy of appreciation for aesthetics alone – but what unites them is their uncanny willingness to revisit such works to create anew.

The exhibit explores art’s singular capacity to revisit the past through experiences, processes, and memory in visual form. The perspective of the artist is achingly present as the viewer examines the layers of each work, shocked by the profound completeness of the work underneath, and moved by the beloved process of destruction, manipulation, and recreation. We get a glimpse of the tension, anxiety, thrills, and woes of making of art, for which the artist contends with in everyday practice.

Amy Hughes Braden, Roxana Geffen, and Jackie Milad explore what it means to be an artist through efforts in revisiting and reworking their past. Studio Sacrilege obliterates the norms of preserving and maintaining art in pristine untouched conditions by metaphorically thrusting the viewer out of the gallery and into the artist’s studio.

Self/Non-Self: Sequence and Abstraction: Justin D. Strom, curated by Jefferson Pinder
April 24 – June 14

Certain and Endless Fig. 3, archival pigment print, resin, dye, 33.5″ x 33.5″ x 2″

Self/Non­-Self: Sequence and Abstraction
Justin D. Strom
DCAC’s Curatorial Initiative
Curated by Jefferson Pinder
Apprentice Curator: Kayleigh Bryant­-Greenwell

April 24 -­ June 14, 2015
Opening reception: Friday, April 24, 7-­9 pm
Artist talk & closing reception: Sunday, May 17, 5 pm

In his first solo exhibition in Washington, artist Justin D. Strom presents seductive surfaces that express an aesthetic based on the human image as shaped by, and reflecting, our digital age: an age that attempts to dissolve the distinction between the virtual and the corporeal. Employing a hybrid of photography and digital printmaking, Strom navigates a world of microbiology and abstraction. Strom references opulent Dutch still life paintings through a rich canvas of constructed scenes that act as symbolic reminders of transformation and impermanence.

In Strom’s work, deepened black spaces deploy a sensibility towards negative space while vibrantly colorful surfaces draw you into a world of unfamiliar objects. These objects reference imagery of botanicals and life itself. The chiaroscuro-­like space is a stage for these strange figures to consume your attention, yet a sense of danger lingers beneath the surface—a warning against the luxurious and opulent feeling of these objects, referencing the brevity of life.

Engaging with issues in microbiology, cloning, and genetic sequencing with a sensibility for the fantastical sci­-fi films of the late 60s and early 80s, Strom toes the line between reality and fiction and considers our place in both. Abstraction becomes mutation, sequencing becomes the repetition of forms, and the line between art, science, technology is entirely blurred.

Of the body, of science and its fiction, of digital imagery itself, these works are a heightened sense of the immediacy of today’s major issues, concerning universal and personal experiences with technology, change, and our environment.

Baggage Claim: Unpacking Immigrant Lives, curated by Gia Harewood
September 12 – October 12

Jenny Liu, Chinese, Sheila Pree Bright, Chromogenic Print Edition 1 of 3, 65×48 inches

Baggage Claim: Unpacking Immigrant Lives
DCAC’s 2014 Curatorial Initiative
A Mixed Media Exhibition curated by Gia Harewood
Mentor Curator: Jarvis DuBois

September 12 – October 12, 2014

Opening Reception Friday, September 12, 7-9 PM
Panel Discussion Wednesday, October 1 at 7:30 PM
Closing Reception Sunday, October 12 at 5:00 PM

Sheila Pree Bright (GA), Andrea Cauthen (NY), Alonzo Davis (MD), Vanessa “Agana” Espinoza (CA), Nery Gabriel Lemus (CA), Wendy Philips (GA), Favianna Rodriguez (CA), Jerry Truong (MD), Amare S. Worku (MD), and Ruee Gawarikar (NJ)

Although immigration is one of the biggest issues in the Americas today, the narrative about immigration in the US is very narrow. Media coverage is largely negative with tremendous focus on illegality, anxiety, and fear. Art offers a new way into these complicated debates. Baggage Claim showcases ten artists who invite audiences to consider different perspectives. Come explore the nuances.

The Curatorial Initiative reflects DCAC’s commitment to curatorial practice as an integral part of supporting emerging and under recognized artists. Each year an apprentice curator is selected to gain experience in the process of planning and mounting an exhibition by working with an experienced mentor curator.

(in)Visible & (dis)Embodied: Repositioning the Marginalized, curated by Jarvis DuBois
April 25 – June 1

Ramiro Gomez, No Splash, Archival Pigment, Print Edition of 25, 27 x 27 inches, 2014, Courtesy of artist and Charlie James Gallery, Los Angeles

(in)Visible & (dis)Embodied: Repositioning the Marginalized
Mentor Curator: Jarvis DuBois
Apprentice Curator: Gia Harewood

April 25 to June 1, 2014

Opening: April 25, 7-9 pm
Panel Discussion: May 14 at 6:00pm
Gallery Talk: June 1 at 5:00pm

Andrea Chung, Ivan Forde,Ramiro Gomez, Dafna Steinberg, and Jason Edward Tucker

In (in)Visible & (dis)Embodied examines and reclaims the bodies of people who are often marginalized in mainstream American and Caribbean societies, such as immigrants, domestic workers, black and/or gay men, and women. It seeks to relocate these groups to the center of discussions on class, race, gender, and sexual orientation, by challenging their inaccurate depictions as “others.” Each work explores the artist’s’ own sense of “otherness,” alongside those they visually represent.

The Curatorial Initiative reflects DCAC’s commitment to curatorial practice as an integral part of
supporting emerging and under recognized artists. Each year an apprentice curator is selected to gain experience in the process of planning and mounting an exhibition by working with an experienced mentor curator. The program results in two exhibitions each year: in the spring the mentor curator selects artists and plans the exhibition and accompanying catalogue with the assistance of the apprentice; in the autumn, the roles are reversed and the apprentice plans and executes an exhibition with the assistance and advice of the mentor.

Non Serviam: New Directions in Graphic Design, curated by Jessica Pavone
September 14 – October 13

Benjamin Critto, Rolu 4 Ommu, 2013, C-print, 20x 30”, Courtesy of the artist and photographer Mike Garten
Non Serviam: New Directions in Graphic Design
Curated by Jessica Palone
Mentor Curator: Helen Frederick

September 14 – October 13, 2013

Panel Discussion: Sunday, Sept. 22 at 5 pm

Benjamin Critton, Anther Kiley, the collaborative team of Keetra Dean Dixon and J.K. Keller, Martin Venezky and Carolyn V. Marsden

These featured artists create works that blur the lines between traditional definitions of design and fine art. Their oeuvres move beyond functionality and the traditional client-designer relationship into the realms of individual and personal expression. As stated by curator Pavone, “They expand and radicalize their field, rebuking the strictures of functionality.”

The exhibition features compelling works that fuse typography and image in a variety of print media including “old school” letterpress, offset, lithograph, web, risograph, and 3-D printing.

Microscapes, curated by Amanda Jirón – Murphy
September 7 – October 7

Victoria Fu, Untitled (Hole), Archival inkjet on Crane Museo Max paper, 30 x 40 inches, 2012
Curated by: Amanda Jirón – Murphy
Mentor Curators: Sondra N. Arkin and Ellyn R. Weiss

September 7 – October 7, 2012

Opening Reception: September 7, PM

Selin Balci, Edmond Van Der Bijl Victoria Fu, Joseph Shetler

In a petri dish in a science lab, bacteria breed, wage war and grow on a microscopic level. Meanwhile, thousands of miles away in space, a solar flare punctures the expanse of the darkness while planets silently slip in and out of another’s orbit. These magnificent biological events, visible on a small and large scale, serve as the inspiration for the works in Microscapes. The artists in this exhibition pay homage to these elegantly entangled phenomena through their work as well as their practices, each one capturing the humbling and fascinating flux of the universe on both the smallest and largest scale. Using this source material, the artists examine and re-imagine these occurrences, creating immersive micro-universes within their work.

Zeitgeist III: Too Much Information?, curated by Sondra N. Arkin and Ellyn Weiss
May 4 – June 10

Richard Dana, Plugged In. archival pigment print, 36″ x 26″
Zeitgeist III: Too Much Information?
Curated by Sondra N. Arkin and Ellyn Weiss

May 4 ­- June 10, 2012

Opening Reception: May 4, 7-­9 pm
Panel Discussion: May 23, 7-­9 pm
Artists Talk: June 10, 3­-5 pm

JS Adams, Tom Block, Scott G. Brooks, Richard Dana, Anna U. Davis, Thomas Drymon, Adam Dwight, Claudia Aziza Gibson ­Hunter, Pat Goslee, Michelle Lisa Herman, Ryan Hoover, Michael Iocovone, Elizabeth Morisette, Michael Platt & Carol Beane, and Ruth Trevarrow

What is the collective consciousness when newsfeeds from our neighbor’s bedroom compete for attention on the same level as nuclear warheads?

Zeitgeist is a German word meaning “spirit of the times,” as reflected in the cultural, political and intellectual mood of a moment in time. Evidence continues to indicate that our brains are being altered by the current information surge and the means by which it is delivered. Curators Sondra Arkin and Ellyn Weiss are interested in the responses of 15 artists to the effects of the increasing streams of information coming to us from an ever­growing array of devices and directions.

Zeitgeist III: Too Much Information? is the third in a series of periodic exhibitions that brings together groups of artists for exploration by the curators Sondra N. Arkin and Ellyn Weiss.

The first Zeitgeist exhibition was mounted in 2008 at the Nevin Kelly Gallery in Washington, DC. Titled Under Surveillance, it presented artists responses to the increasingly diminishing zone of personal privacy available to us as we are data mined, sorted and observed by a growing array of government and corporate entities.

In the fall of 2009 Zeitgeist II: What’s Important Now? was presented as the backdrop of then then new president’s first days and months featured Bernie Madoff and many others of his ilk, the stock market meltdown, foreclosures, and a daily body count of bank failures.

Organic Plasticity, curated by Metasebia Yoseph
September 9 – October 9, 2011

74 hours, Natalie Cheung, Cyanotype Photogram, 60” x 42”, 2011

Organic Plasticity
Curated by Metasebia Yoseph
Mentor Curator: Isabel Manalo

September 9 – October 9, 2011

Opening: September 9, 7-9 pm
Happy Hour Reception: September 22, 6:30-8:30 pm
Artist talk: October 9, 5 pm

Works by Selin Oguz Balci and Natalie Cheung

Organic Plasticity features works by Selin Oguz Balci and Natalie Cheung, highlighting the organic vs. artificial manipulation of forms. The work of Selin Oguz Balci is produced through the stimulation of organisms whose by-products result in colorful biological close ups reminiscent of scientific texts. The work of Natalie Cheung utilizes the chemical to capture the natural reactions to light and air, leaving behind crystallized formations that evoke forgotten landscapes. Although their methods and materials are very opposing there is a familiarity ever present in the patterns they’ve created.

Victoria Greising, Re-collections: Material, Space, Memory
May 13 – June 12, 2011

Re-collections: Material, Space, Memory

Works by Victoria Greising
Curated by Isabel Manalo
Apprentice Curator: Metasebia Yoseph

May 13 – June 12, 2011

Opening Reception: May 13, 7-9 pm
Artist Talk: June 12, 5 pm

Webbed installations of manipulated fabric and cord proposes to the viewer an experience that is at once sculptural as well as environmental. These landscapes of collected and woven three dimensional lines elucidate a symbolic coming together of a specific grouping of family and friends, as well as a manifestation of an enigmatic logic of determined handiwork.

Elements: The State of Matter, curated by Pam Rogers
September 10 – October 10

Top Row, from left to right: Suzanne Izzo, Jessica Beels, Katie Cassidy. Bottom row, from left to right: Vincent Colvin, Graham Boyle, Stu Searles
Elements: The State of Matter
Curated by Pam Rogers
Mentor Curator: Trudi Van Dyke

September 10-October 10, 2010

Opening Reception: September 10, 7-9 pm
Artists Talk: October 10, 5 pm

This exhibition presents the work of 6 contemporary artists in a variety of media exploring the elements with abstract presentations. Artist included in this exhibition are Jessica Beels, Graham Boyle, Katie Cassidy, Vincent Colvin, Suzanne Izzo, and Stu Searles.

Gift Exchange, curated by Laura Roulet
May 8 – June 7

Thomas Campbell, More Scuba, Acrylic paint and ink on paper, mounted on plywood, 24. 5 X 32 X 3”,
1998, Courtesy of Cynthia Connolly
Gift Exchange
Curated by Laura Roulet
Apprentice Curator: Landria Shack

May 8 – June 7, 2009

Opening Reception: May 8, 7-9 pm
Gallery Talk: June 7, 3 pm

Cynthia Connolly, Edgar Endress, Helen Frederick, Inga Frick, Muriel Hasburn, Dennis O’Neil, Thomas Campbell, Joseph Casseus, Julia Kjelgaard, Gillian Brown, Jennifer O’Neil, S. Dukachev

Inspired by Lewis Hyde’s classic 1979 book The Gift, Gift Exchange presents the work of six accomplished Washington D.C. artists paired with six works by associated artists received in exchange. Relationships between artists such as teacher-student, mentor-acolyte, and collaborators are conveyed in the stories of these exchanges. The notion of art as a gift rather than a commodity, but also a gift as talent, as inspiration, and as catalyst for change, underlies the exhibit.

Kate Hardy, American Idolatry
June 8 – July 8

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American Idolatry
DCAC’s Curatorial Initiative
Kate Hardy
Curated by Anne Surak
Assisted by Margaret Boozer and Claire Huschle

June 8 – July 8, 2007

Opening Reception: Friday, June 8, 7-9pm

A site-specific installation by Kate Hardy that examines the ever-increasing existence of art as a commodity and explores the abstract value attributed to consumer goods in a capitalist society.


‘American Idolatry’ is a conceptual artwork that aims to be
accessible in its content, visual appeal, pricing, and the collaborative action
of exchange. I am presenting the audience with objects that appeal to me.
Familiar objects: toys, knick-knacks, souvenirs, etc. They are objects that I have
collected from thrift stores, found on the streets of DC or have been given
to me by friends. They are a set of unique collectibles. They are not things
that I necessarily need but they are things that I want to have. The artist,
the consumer and the collector in me would like to have them. Their value
system is based on my own personal relationships with and associations to
them. They have been ranked and priced according to my preference, and I
am presenting them in a gallery setting where by purchasing an object, you
will be participating in the completion of the piece.
— Kate Hardy

…Hardy’s installation is a conceptual piece that discusses the commodification
of artworks as well as subverting the typical protocol of the
art market. Projects like this do not attempt to bypass the valorization and
commodification of the work, but instead embrace it. It is this embrace
that completes the work of art. The artistic act is the interactive process of
— Anne Surak

This exhibit was made possible by a generous grant from the Warhol Foundation to support the DCAC Curatorial Initiative which helps develop and mentor emerging curators in Washington DC.

American Icons through Indigenous Eyes, curated by Suzan Shown Harjo
April 13 – May 6

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DCAC’s Curatorial Initiative
American Icons through Indigenous Eyes
Curated by Suzan Shown Harjo

April 13 – May 5

Opening Reception: Friday, April 13, 7-9pm
Closing Reception: Sunday, May 5, 3pm

Twelve Native American artists in an exhibit curated by Suzan Shown Harjo ( Cheyenne and
Hodulgee Muscogee).

The views of most Native American people are never heard or seen by anyone near the shores of the Potomac. But that doesn’t stop a lot of folks in Washington , D.C. from believing they know who Native Peoples are, what we think and what’s best for us. ..I wanted to curate a show that would expose Washingtonians to unfiltered views of some Native people outside D.C. After settling on the broad exhibit theme, I contacted a dozen topnotch Native American artists, with an open-ended request for new or existing work on any subject they wanted to address in the nation’s Capitol.
-Suzan Shown Harjo, curator

Check out the Washington Post review here:

*This exhibition was made possible by a generous grant from the Warhol Foundation to support the
DCAC Curatorial Initiative which helps develop & mentor emerging curators in Washington , DC .

By Chance…, Curated by Lisa McCarty
February 16 – March 11

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DCAC’s Curatorial Initiative
By Chance…
Thomas M. Lowery, Michael Matason, LaRinda Meinburg, Jym Davis, Wendy Downs, and
Andy Holtin & Galo Moncayo
Curated by Lisa McCarty

February 16 – March 11

Opening Reception: Friday, February 16, 7-9pm
Curator’s Talk: Sunday, March 11, 3pm

This is the fourth Curatorial Initiative show supported by the Warhol
Foundation. This show is curated by emerging curator Lisa McCarty who
also worked on “Hystoria” with JW Mahoney. In this show Lisa explores chance within the context of curating and artmaking, inquiring into the processes involved in both these pursuits when the element of chance is involved. Lisa includes six artists that use, invite, or embrace chance within their work. She selected the first three artists,Thomas M. Lowery, Michael
Matason, LaRinda Meinburg and each of these three artists then picked one additional artist each to include in the show: Jym Davis, Wendy Downs, and Andy Holtin & Galo Moncayo. The show is made up of artists that all utilize chance in their work, and is also brought together by chance in the DCAC exhibition space. In a larger context it also facilitates an investigation into the process of curating, and provides a forum to rethink the relationships between artists, their works, and curation.

From Sea to Shining Sea
March 31-April 23

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DCAC’s Curatorial Initiative
From Sea to Shining Sea
Curated by Ori Z. Soltes and Cara Ober

March 31 – April 23

Opening Reception: Friday, March 31, 7-9 pm
Artist Talk: Sunday, April 23, 4pm

The exhibit title and underlying concept play with the rich visual possibilities that the sea as a subject has to offer to so many artists. It alludes specifically to the doctrine of Manifest Destiny, which asserted that it was God’s will that the republic expand from ocean to ocean, and its relevance today. The artists represented in this group show come from coast to coast and their subject matter relates to the sea.

Funded by the Andy Warhol Foundation

March 3-March 26

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DCAC’s Curatorial Initiative
Geoff Bell, Julee Holcombe, Betsy Packard, Jeffrey Smith, Champneys Taylor
Curated by J.W Mahoney and Lisa McCarty

March 3-March 26, 2006

Opening Reception: Friday, March 3rd, 7-9pm
Artist Talk: Sunday, March 12th, 4:00pm

The anxieties that the present course of history induces in artists are often most
creatively bourn indirectly. The social chaos, and the pressure of information, the “wreckage,” is monumental. Turning aside offers periphera l vision a full scope. And turning around to the Past offers a very different range of worlds than the one that our present ceaselessly opens. All this data can feel useful, and strangely beautiful. These five artists in Hystoria present
unfamiliar beauties emerging from our image and form-rich visual history –created in the context of the strong geopolitical uncertainties we’re witnessing right now

Funded by the Andy Warhol Foundation