Nano Gallery: Nihal Kececi Thadani, Mysteries,
December 16-March 19

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Nihal Kececi Thadani

December 16, 2016 – March 19, 2017

Opening Reception: Friday, December 16 at 7-9 pm
Artist Talk and Closing Reception: Sunday, March 19 at 5 pm

Nihal’s work explores the perception of light as revealed through the nuance of colors, creating a space between the natural and abstract. Working in the glazing technique, the paintings are developed through numerous translucent layers of pigment suspended in thin acrylic layers which, creates an environment of diffused light that remains minimal and abstract.

Image: Nihal Kececi Thadani, Enigma Series, 2016, Acrylic on canvas, 24 x 24”

Sparkplug: Power (I Know It When…), curated by Lea-Ann Bigelow,
October 21 – December 4

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Jerry Truong, An End in Itself (Always on the Right Side or Just the Will to Power) – Mahatma Ghandi, 2016, Vinyl on polyester film, 24″ x 36″

Power ​(I Know It When…)
SPARKPLUG: DCAC’s Artist Collective

Curated by Lea-Ann Bigelow

October 21 – December 4, 2016

Opening Reception: Friday, October 21 at 7-9 pm
Artist Talk: Thursday, November 17 at 7:30 pm
Happy Hour: Wednesday, November 30 at 6-8 pm
Closing Reception: Sunday, December 4 at 5 pm

Michael Booker, David Ibata, Megan Maher, DeLesslin George-Warren, Jerome Skiscim, Casey Snyder-Magrys, Brendan Smith, Jerry Truong, Fabiola Alvarez Yurcisin

Power (I Know It When…) is the second exhibition by the current incarnation of Sparkplug, DCAC’s
Artist Collective. Sparkplug’s nine members will share new paintings, sculpture, photography and
installations exploring the dynamics, dimensions and implications of power (and empowerment) in its
many forms. Political power. Physical power. Spiritual power. Technological power. Psychological,
sensual and – pulsing throughout – creative power.
A phenomenon with strong and conflicting connotations, power can be admired, accessed, amassed,
relinquished, feared or confronted. But it is not in the nature of power to be ignored. For the artists of Sparkplug, a sense of personal urgency and preoccupation with what it means to live in America,
now, has guided their interrogations of power. The results are as timely as they are revelatory.

Nano Gallery: THIS END UP,
September 16 – December 11

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Project Dispatch

September 16 ­- December 11, 2016

Opening Reception: Friday, September 16, 2016 at 6:30­-9:30 pm
Artist Talk and Closing Reception: Sunday, December 11, 2016 at 5 pm

Frank Adams, Eleanor Barba, Amy Hughes Braden, Meg Chamberlain, Chris Chen, Sheena Custer, Rachel England, Duncan Ford, Jessica Ford, Elizabeth Graeber, Allison Long Hardy, Evan Hume, Becca Kallem, Chandi Kelley, P. Corwin Lamm, Dana Maier, Molly McAuley, Kendall Nordin, Jerome Skiscim, Kristoffer Tripplaar, and Arianna Valle

Project Dispatch is an artwork subscription service, offering a unique experience for art collectors. THIS END UP features original works by 21 Project Dispatch artists in the Nano Gallery. Each work is displayed inside of a cardboard box, highlighting the element of surprise in receiving artwork by mail.

***From The Archives***
Curatorial Initiative: Public Displays of Privacy, curated by Martina Dodd,
September 9 – October 16, 2016

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

Curatorial Initiative:

Public Displays of Privacy

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

Sarah West, Vanishing Point,
June 3 – July 10

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Sarah West, darkprint, 2015 oil on panel, 48”x 38”x 2”

Vanishing Point

Sarah West

June 3 ­- July 10, 2016

Opening Reception: Friday, June 3, 7­-9 pm
Artist Talk & Closing Reception: Sunday, July 10, 4 pm

This series combines references to Early Renaissance paintings with digital symbols and artifacts. It suggests the spiritual undercurrents within digital technology through its potential for enlightenment, transcendence, and evocation of the infinite. Emphasizing painting as a portal, the works point out our desire to be transported by visual means.

Play and discovery are important components of the execution of the paintings and the viewer’s experience. West positions the viewer as an explorer and navigator to roam through various spaces that coexist within a single composition and addresses the potential for fluidity between the material and the virtual.

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

Curatorial Initiative:
Sip and Paint Van Gogh’s ​The Starry Night

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.

Nano Gallery: Zofie Lang, Panacea’s Box,
April 25 – July 10

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Zofie Lang, Cure for Vanity, Dollhouse drawer, gesso transfer, acrylic,
plexiglass, film, skull, 2 3/8” x 1 1/2” x 5/8”

Panacea’s Box

Zofie Lang

April 15 -­ July 10, 2016

Opening Reception: Friday, April 15, 7-­9 pm
Gallery Talk​: Sunday, July 10, 5 pm

Panacea’s Box is a series of miniatures that contemplate various ailments and present imagined “cures”
based on the principle of correspondence. Inspired by my curiosity about perceptions and the subjective
realities that result from them, these fictional remedies are crafted into small vignettes using dollhouse drawers, original photography and found objects.

Drawers and boxes are major components of all my assemblages; in addition to their organizing function, it is important that these vessels can hide contents, but also have the potential to reveal them.

A Day Before: Hannah Leighton,
March 25 – April 24

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A Day Before

Hannah Leighton
Curated by Maura Callahan

March 25 -­ April 24, 2016

Opening Reception: Friday, March 25, 7-­9 pm
Artist Talk & Closing Reception: Sunday, April 24, 3 pm

A Day Before is a solo show of paintings completed over the past eight months by Hannah Knight Leighton and curated by Maura Callahan. Leighton believes that painting is a translation of reality. You inhale experience, reactions, and exhale color, shape, and form. Opaque shapes laid over translucent pockets create a stimulating undertone.

Leighton is an artist living and working in Baltimore, MD. She received her BFA last May from the Maryland Institute College of Art (2015). Upon graduating, Leighton spent a month at Green Olive Arts in Morocco where she studied painting. Post travels, she moved into an artist community where she has co-­founded and directs Ballroom Gallery.

Memory-scapes: Jung-Min Park, curated by Trudi C. Van Dyke
February 19 – March 20

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Jung-Min Park, By Train, 28″x22″, 2015, Mixed Media on fabric


Jung Min Park

Curated by Trudi C. Van Dyke

February 19 -­ March 20, 2016

Opening Reception​: Friday, February 19, 7-­9 pm
Artist Talk & Closing Reception​: Sunday, March 20, 5 pm

Mixed media fiber artist Jung Min Park successfully translates her life and travels as a self described “city girl” into her work.

Park makes it a point to be in the present as she maneuvers her way through each new city that surrounds her. The exhibition is a stroll through the culmination of experiences imprinted in her memories. Park does not try and deliberately recreate the environment of any particular city but her abstractions offer clues to the locations she internalizes. Focal points draw the eye to a realistic image that pulls the observer from the chaos of the urban abstractions to find order.

The exhibition encompasses large scale fiber canvases the artist manipulates with paint and collage entwined with ephemera. Carefully planned manipulation of the fiber and threads emphasizes the importance of negative space to the artist.

The exhibition also includes a strong selection of small framed collages floating on white backgrounds which capture a moment in time and place. Park affords viewers a sense of immersion via her memory-­scapes and provides a platform to juxtapose their own city reflections.

Nano Gallery: Facebook Photos by Poets, curated Phyllis Rosenzweig,
February 5 – April 10

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Dang bread left behind yall, Buck Downs, 2015

Facebook Photos by Poets

Curated by Phyllis Rosenzweig

February 5 ­- April 10, 2016

Opening Reception: Friday, February 5, 7-­9 pm

Buck Downs, K. Lorraine Graham, Dan Gutstein, Mel Nichols, Meg Ronan, Rod Smith, Ryan Walker

These images, by seven D.C. poets, are downloaded from their Facebook posts or, in one case, an iphone.
Some are ironic, some contemplative, and most are surprisingly beautiful. Some are from found sources
(Facebook is about sharing, not just “authoring”­ as is, arguably, some of these poets’ writing). The exhibition does not propose specific correlations between their pictures and their writing; however, these poets seem equally adept at using both words and pictures to note what is remarkable/strange/ funny/ironic/or just pretty amazing. The exhibition was conceived specifically for the nano gallery, which leads to the theater where DCAC hosts the monthly “In Your Ear” reading series in which all of these poets regularly participate. Special thanks to Jessica Cebra, and to Jose Ruiz and Olivia Weise at Furthermore.

The Drawing Board, curated by Cory Oberndorfer,
January 15 – February 14

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Ryan Sarah Murphy, Post, 2015, gouache, acrylic, pencil, marker on paper, 22″x14.75″

The Drawing Board

Curated by Cory Oberndorfer

January 15 ­- February 14, 2016

Opening Reception: Friday, January 15, 7-­9 pm
Happy Hour: Friday, February 5, 5­-7 pm

Drawings by Abraham Ferraro, Allison Malinsky, Andrew Johnson, Charmaine Ortiz, Claudia Sbrissa, Cody VanderKaay, Cori Champagne, Dylan Collins, Edward Smith, Emily Francisco, Jason Manley, Katie Hovencamp, Nicole Lenzi, Ryan Sarah Murphy, Shelley Picot, Susan Meyer, Susi Cora, William Vannerson.

Artists are sponges soaking up the information around them. This information can linger for moments or years until the creative mind has a moment of Illumination. The conscious and subconscious create the “eureka!” moment that we all strive for. But the work is not complete yet; it needs verification and documentation. “Can this idea work?”

For most artists, the second step involves pen and paper. When sculptors have a moment of illumination, the idea is often illustrated in order to view their idea in tangible form. For some, this means frantically scribbling shapes on the nearest scrap of paper. For others, it involves more contemplation and decision ­making, becoming blueprints and schematics.

Sometimes the drawing itself may even become a separate project. These drawings are rarely meant to be viewed by others, but provide great insight into the artist’s process rather than the product itself.