In the Moment, curated by Deirdre Darden,
November 21 – January 4

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She Who Looks Inside Awakes, Aliana Grace Bailey, Digital Collage/Photography

In The Moment

Curated by Deirdre Darden

November 21 ­- January 4, 2014

Gallery Talk: Sunday, December 14, 7 PM
Opening reception: Friday, November 21, 7­-9 PM
Artist talk and closing reception: Sun, January 4 at 5 PM

Featuring works by Aliana Grace Bailey, Mark Thomas, Jordan Dukes, and Jeffery Boston Weatherford

This exhibition features artists of varying mediums that share a common factor: they are all under 25 years old. While being 90’s babies may connect them, it is the exploration of identity, technique and community that unifies these works. While marking the 25th Anniversary of DCAC, it also marks the 5th collaboration with Black Artists of DC (BADC).

Michael Booker, I Made This Just For You,
October 17 – November 16

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Michael Booker. Holiday Special, Oil on Canvas, 22″ x 22″, 2013

I Made This Just For You

A Painting Exhibition by Michael Booker
Curated by Jefferson Pinder

October 17- November 16, 2014

Opening Reception: Friday, October 17, 7-9 pm
Gallery Talk: Sunday, November 16 at 5 PM

Reflecting on the past inspires a desire to return to an era romanticized by time and fading memories. Details of various past experiences combine to create a new truth, even if events may have occurred differently in the past. Old family photos and the artist’s own memories are referenced and merged with influences of quilts, patterns, and textiles to create mixed memory oil paintings.

Nano Gallery: Laura Kinneberg, Serial Specimens,
October 10 – March 1

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Gary Green Jasper, (Petrified Bog), McDermitt,, 5-color silkscreen, silkscreened aqua crayon, and letterpress print, 2013

NANO GALLERY:
Serial Specimens

Laura Kinneberg

October 10, 2014 – March 1, 2015

Opening Reception: Friday, October 10, 7-9 pm
Artist Talk: March 1, 2015 at 5 pm

Serial Specimens is a suite of 60 prints and counting that began as a cataloging exercise of the artist’s childhood rock collection. Presented in a uniform 6”x6” format, with small but multi-layered images and letterpress-printed labels, each print describes the lithology and locality of a geological specimen taken variously from backyards, roadsides, vacation spots, and rock shops. As the series grows, a survey of landscapes takes form on a granular level.

The purpose of souvenirs—and how we take and keep or share tokens, often in hopes of holding on to a place—is also woven into the project. When friends of the artist began to contribute rocks and share stories from their own travels, the artist completed the transaction by making and giving a print of that specimen in return, broadening the array. Though resembling 19th-century scientific illustrations, the prints are not intended as precise observations. Due to the flattening of color and texture in the silkscreen process, the resulting images are more shorthand for memory than scientific fact.

Curatorial Initiative: 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

Curatorial Initiative:

Baggage Claim: Unpacking Immigrant Lives

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.

Dana Maier, You Can’t Put Art on a Pedestal, July 11 – September 21

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You Can’t Put Art on a Pedestal

Dana Maier

July 11 – September 21, 2014

Opening: Friday, July 11, 7-9 pm
Closing Reception: Sunday, September 21 at 5 pm

DCAC is proud to announce the opening of its new NANO GALLERY, a big idea for smaller art. The new Nano Gallery is located within the main gallery and is dedicated to presenting miniature and smaller works in an exhibition setting.

The premiere exhibition will be You Can’t Put Art on a Pedestal with drawings and cartoons by Dana Maier. Her works explore the question: what is it like to see art in a museum setting? And what is it not like? Within numerous cartoons and drawings, artist Dana Jeri Maier illustrates a series of imaginary scenarios in museums that address various questions: what if the art spoke? What if our own mundane thoughts were placed on pedestals and granted the authority of a museum? What does a hand-drawn museum map look like if all of the information is removed?

Sparkplug: (inter)Related,
June 6 – July 13

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Rachel Schmidt, ​City Herd, ​2013

Sparkplug:

(inter)Related

June 6 to July 13, 2014

Opening Reception: Friday, June 6, 7-9 pm
Closing/Gallery Talk: Sunday July 13 at 5:00 PM

(inter)Related is an all­-media exhibition curated by Allison Nance, featuring work by the artist collective Sparkplug: Amy Hughes Braden, Lee Gainer, Piper Grosswendt, Michelle Lisa Herman, Becca Kallem, Radio Sebastian, Rachel Schmidt, and Stephanie Williams.

This unique DCAC group of artists work in conjunction with each to inspire and feed off of one another’s ideas. The theme of this summer’s Sparkplug show is the interplay between the public nature of an art exhibition and the personal, private mentality in which it is created.

By allowing for someone to take a piece of their own creation and to make permanent changes, these artists have opened themselves up to a vulnerability that, as part of the collaborative process, speaks directly to the idea of the intimacy of personal space and art making. As a whole, this exhibition in itself, is an invitation for the viewer to enter the artists’ most personal of spaces and to understand the intimacy of the creative process.

Curatorial Initiative: (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

Curatorial Initiative:

(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.

***From The Archives**
Jamea Richmond-Edwards, The Cost of Making her Run: Fear, Flight, Freedom,
March 21 – April 20 2014

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Sacrifices for Sacrifices, ink and chalk pastel on board, 2014, 40×96 inches

***From the Archives***

The Cost of Making Her Run: Fear, Flight, Freedom

Jamea Richmond-Edwards

March 21 – April 20, 2014

Opening Reception: Friday March 21, 7-9 pm
Gallery Talk & Closing Reception: Sunday, April 20, 2pm

In The Cost of Making Her Run: Fear, Flight, Freedom, Jamea Richmond-Edwards employs intimate portraits of women and dramatic photographs in a complex exploration of her personal cosmos. The works, centered on the dichotomy of self-belief and doubt, are inspired by life experiences, family narratives and the legacy of Harriet Tubman. Addressed are concerns of identity, racial discrimination and subjugation, coupled with artistic challenges and triumph.

As a ballpointist, Richmond-Edwards’ women are composed of swirling orbs and densely scrawled lines. One is seduced by their alluring gazes; some possess self-assuredness, while others reveal vulnerability. Each woman is a metaphor for Richmond-Edwards’ trials and achievements. They are multi-generational, representing various periods in the artist’s life. They exist in an imaginary world where darkness shields them from fear, self-doubt, and those who seek to oppress them. Appearing iridescent under the night sky, these beautiful and powerful lionized figures gather to perform rite and ritual, in a secret community where they draw strength from one another and their ancestors.

This Time, She Ain’t Afraid is a captivating series of photographs in which Richmond-Edwards reenactments Harriett Tubman’s escape from slavery. Inspired by Tubman’s defiance, determination, fearlessness, and resilience Richmond-Edwards evokes her spirit as she seeks to flee the constraints of racial discrimination and obstacles placed by those with perceived notions about her art making.

The compelling drawings in The Cost of Making her Run: Fear, Flight, Freedom and stirring photographs in This Time, She Ain’t Afraid are the embodiment of Richmond-Edwards’ life’s journey and are her testament to overcoming personal fears; in fleeing to find refuge in a world without judgment; and fulfilling her quest for freedom from physical and physiological barriers. As she leaves us to ponder, what is the cost of making her run?

**Click on image to enlarge

 

Nelson Gutierrez, Mediating Dissent,
February 14 – March 16

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Mandala, ink and pencil on paper, 50 x 50 inches

Mediating Dissent

Nelson Gutierrez

February 14, 2014 – March 16, 2014

Opening Reception: Friday, February 14, 2014, 7-9 pm
Gallery Talk: Sunday, March 16 at 5 pm

Nelson Gutierrez’s​ ongoing project, ​Mediating Dissent,​ is made up of two bodies of works: ​The Death of Fear​ and ​“Mandalas.” ​His drawings isolate a single subject and focus on fragments of the broader context in which they may inevitably get lost.

Mediating Dissent​ is made up of about 90 individual ink and pencil drawings on paper. Gutierrez follows the latest social uprisings taking place worldwide. He has been intrigued with the powerful form of collective human dynamic that has led to major societal changes in our modern history. He has followed the civil wars, revolutions and coups d’etat that have taken place in Egypt, Libya, Turkey, Brazil, Chile, Greece, Ukraine and other states facing massive social discontent.

“The Death of Fear” looks at the connection between individual and collective identity; passive spectators versus active engagement; it focuses on people who are likewise passionately engaged. “Mandalas,” are circular images made through the repetition of a single image, usually one of individual characters, creating an integrated structure organized around a unifying center; this includes the idea of reflecting on and portraying universal patterns of behavior based on the frequency and recurrence of global unrest.

His work addresses issues of longing, fear, grief and vanity. He juxtaposes materials such as charcoal, ink, wood, metal, blood, wax, water, glass, light and photographs. When brought together his work also has a symbolic relevance to the issue he is exploring.

At the Crossroad: Michael Horsely,
January 10 – February 9

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Cloudrise, aluminized metal inkjet photo print, 2008, 20” x 26”

AT THE CROSSROAD: a topography of space, time and memory

Michael Horsley

Curated by  Mark Power

January 10, 2014 to February 9, 2014

Opening Reception: January 10, 7-­9 PM
Gallery Talk/Closing Reception: February 9, 2014, 5 pm

Michael Horsley took us to the city with his street photography a decade or more ago. The gritty city streets and buildings that always seemed nocturnal even when they were photographed in broad daylight are hallmarks of his vision. Influenced so powerfully by great American landscape photographers such as Timothy O’ Sullivan John Hillers and their landscapes, he decided to see the actual sites for himself. His Western landscapes, taken while standing in the footprints of the 19th century masters, took on the characteristics of his urban work; these desert sites dark, brooding, and laden with layers of art and history.

Michael Horsley is a visual and performing artist specializing in photography who has explored many creative disciplines including filmmaking, theater/performance art, graphic design and music. He has been a member of I am Eye filmmaking collective, RicnMikenBill performance group, Theater du Jour, curator of KinoRama film series, and a founding member of Fraudulent Productions. A veteran emerging artist his work has appeared in the Library of Congress, the Corcoran Gallery of Art, the Smithsonian Institution, as well as numerous alternative art spaces. His work has been published in the New York
Times, International Herald Tribune, Atlantic Magazine, and the Washington Post.