1460 Wallmountables
July 26 – August 16, 2019

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1460 Wallmountables 

July 26 – August 16, 2019

Join us on Wednesday, August 14 between 6:30-8:30pm for a happy hour reception and complimentary refreshments with your purchase of any available artwork!

August 17: 2-7pm
August 18: 2-7 pm

Every year we celebrate the diversity of artists working in the D.C. area in this unjuried, non-curated, hang-it-yourself show. 1460 Wallmountables is not to be missed! And we’re celebrating our 30th anniversary!

This DCAC tradition reflects our core commitment to supporting and showing under-represented artists. At 1460 Wallmountables, we present over three hundred artworks on practically every inch of our gallery. We divide the gallery walls into two foot by two foot squares, in which everyone and anyone can hang their artwork on a first-come basis. There will be work by children, students, self-taught artists, emerging, mid, and late career artists alike.

Since 1989, thousands of artists have participated in this show, including Richard Seigman, JoAnne Kent, Michael Booker, Chris Combs, Pat Goslee, Megan Maher, Karen Joan Topping, and Charlie Visconage to name just a few. The inclusive nature of 1460 Wallmountables makes it one of the most diverse exhibitions in Washington and it stays up all summer long, so participating artists can enjoy a substantial amount of exposure.

Open To All
June 28 – July 21, 2019

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Open To All: Showcasing 30 Years from the DCAC Archives

June 28 – July 21, 2019

Opening Reception: Friday, June 28, 7-9 pm
Curator Talk & Closing Reception: Sunday, July 21, 5pm

Curated by Ray Barker, Lauren Abman, and Michele Casto

Since it’s founding in 1989, DCAC has been the cultural hub of activism, resistence, and inclusion. Through a unique collaboration with the Special Collections department of the Washington, DC Public Library, this exhibition highlights this history using materials pulled from the dark recesses of the DCAC archives and places them into broader themes.

Richard Siegman
June 7 – Agust 18, 2019

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Richard Siegman
June 7 – August 18, 2019

Join us on Wednesday, July 10 between 6:30-8:30pm for a happy hour reception with complimentary refreshments

Richard Siegman presents miniature versions of his latest series of abstract paintings, further developing his technique and experimenting with color using a spatula technique. This exhibition highlights his progression from the black and white work that was the catalyst for his current technique.

Image: Richard Siegman. Orange. Red. Blue. 2019. Acrylic and polyurethane on ultra board. 6”x6”

The Black Overlay
June 1-22, 2019

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The Black Overlay, an exhibition and performance series by Sherman Fleming and Holly Bass

Exhibition dates: June 1- June 22, 2019

Opening Reception: Saturday June 1, 4 – 7 pm


Thurs. June 20 @ 6:30 pm: Performance of Pretending to Be Rock

(approx. 2-3 hours) in the theater

Sat. June 1 @ 5:00 pm: Performance of Something Akin to Living

(approx. 30 mins) in the theater

Sat. June 22 4:30pm-6pm: Closing reception. Artist talk with Holly Bass and Sherman Fleming, moderated by Terence Washington from 3pm-4:30pm.

On view in the gallery: Infinite Desire is an ongoing series of collage-based figurative abstractions Fleming started in 2012. Informed by Japan’s Edo period, particularly its vision of “the floating world,” the Infinite Desire series integrates figurative, graphic and textural fragments that express an urgent and potent symmetry.

The Black Overlay is the outgrowth of a collaboration between Holly Bass and Sherman Fleming which began in 2015. This first iteration at DCAC, in conjunction with the art space’s 30th anniversary, consists of an exhibition of new visual art work by Sherman Fleming curated by Terence Washington, as well as re-stagings of two of Fleming’s early performances about black masculinity in which Holly Bass will occupy Fleming’s role. Performance artists Wilmer Wilson and Maps Glover will participate in the re-stagings.

The title comes from conversations between Fleming, Bass and Washington in which all three shared experiences in which the public assumed that their respective creative or scholarly work was about blackness, regardless of whether the artist or curator said or implied such and even when they said it was not about blackness but about some other concept or idea. That is to say, no matter what each of them creates, there seems to always be an overlay of blackness imposed by the public imagination. Often times the artists *are* dealing specifically with race and blackness, but not every time.

Many of Fleming’s early performances explored notions of black masculinity. For his duets, Fleming collaborated with both black and white female performers, but found that when white women performed with him, the work was viewed by critics and the public as an exploration of interracial sexual dynamics or about whiteness. This dynamic did not occur when the collaborator was a white male or a black female.

As Bass and Fleming began researching together with the intention of creating new work, they decided to restage two of Fleming’s early works about black masculinity and invert the gender roles so that Bass would take Fleming’s position in the piece and the roles originally played by women would be performed by black male performance artists.


Sherman Fleming has been actively involved in performance art since the 1970s. His work often explores the body’s expressive power and the limits of endurance, confronting issues of black masculinity and the psychosexual tensions surrounding the black male body. Fleming received his BFA from Virginia Commonwealth University and his MFA from Hartford Art School. His performance work has been featured at a number of institutions, including the Institute of Contemporary Art in Philadelphia, Intermedia Arts in Minneapolis, and Franklin Furnace in New York.

Holly Bass is a multidisciplinary performance and visual artist, writer and director. Recurring themes in her work include the black female body, labor, gentrification and community engagement. She studied modern dance (under Viola Farber) and creative writing at Sarah Lawrence College before earning her Master’s from Columbia University’s Graduate School of Journalism. From 2014-2019, she directed a year-round creative writing and performance program for adjudicated youth in DC’s Department of Youth Rehabilitation Services. She is a 2019 Red Bull Detroit Artist-in-residence, a recipient of the 2019 Dance USA Artist Fellowship and a 2019 Smithsonian Artist Research Fellowship.

Terence Washington has written on lynching photography and on the use of sensationalism for reinforcing white supremacy, and he believes that the only just aim for reparations is happy black people. He was an Air Force linguist before discovering liberal arts and art history at St. John’s College, and he earned a Master’s in art history from Williams College. He now writes about art in his capacity as a museum educator at the National Gallery of Art and in freelance projects for museums and artists.

Image: Sherman Fleming, Infinite Desire #17, Watercolor on 140 lb. Arches hot press. 30″ x 22″

Soft Sinew
May 3 – 26, 2019

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Soft Sinew
May 3 – 26, 2019

Opening Reception:  Friday, May 3, 6-8pm
Join us on Friday, May 3 between 6-7pm for a happy hour discussion with the artist and complimentary refreshments

Artist:  Ariel Posh

Soft Sinew presents a small body of thread works, painterly and icon-like, by Pennsylvania-based artist Ariel Posh. These artworks balance playfulness and horror, tradition and innovation. Forms and figures rendered in fiber evoke the body as a tenuous assemblage of flesh, liable to unravel, yet brilliantly resilient.

Image: Ariel Posh, Avery, 2019, Thread and glue on wood panel, 5”x7”

Intermediate: Fluxus Interpretations
May 3 – 26, 2019

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Intermediate: Fluxus Interpretations
May 3 – 26, 2019

DCAC’s 2019 Curatorial Initiative
Curator: Dawne Langford
Apprentice Curator: Monique Muse Dodd

Opening Reception: Friday, May 3, 7-9pm
Performance Event: Friday, May 10, 7:30pm, Friday, Mary 25, 2-4pm
Artist Talk & Closing Reception: Sunday, May 26, 2-4pm

Artists: Arian Parsons, Alex Oliva, Alex Tyson, Antarah Crawley, Laura Tighe, Luke Stewart, Maps Glover, Monique Muse Dodd, and Rex Delafkaran

Anti-elitist, anti-establishment, improvisational, collaborative. Intermediate: Fluxus Interpretations presents work inspired by the revolutionary impulses of the Fluxus art movement developed in the 1960’s, but thoroughly embedded in our current digital age. These artists work against boundaries of art and life through installation, video, performance, design, painting, and multi-disciplinary works.

Image: Arian Parsons, 2019

Sparkplug: Light Liminal
February 22 – March 24, 2019

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Sparkplug: Light Liminal
February 22 – March 24, 2019

Opening Reception:  Friday, February 22, 7-9pm 
Closing Reception: Sunday, March 17, 5pm Artists & Curator Talk

Artists: Tom Greaves, Sarah J. Hull, Shana Kohnstamm, Alanna Reeves, Azadeh Sahraeian, Elizabeth H. Sampson, Alexandra Silverthorne, Sarah Stefana Smith, Madeline A. Stratton, and Steve Wanna.  
Curator: Karen Joan Topping

Sparkplug: Light Liminal illustrates how these ten artists literally and symbolically employ light and darkness in painting, drawing, sculpture, and photography. The exhibition takes place at the beginning of the 2019-2020 Sparkplug Collective, and explores themes of communication and empathy.

Karen Joan Topping moved to DC the same year DCAC opened (1989) and has been participating in what goes on there since getting her BFA from American University 1993. In 2007, she was one of the founding members of Sparkplug. She has an MFA from University of the Arts and is an artist and curator that create objects, images and experiences that encourage participants to reengage with the richness and empathy inducing reality of the experience of play. She is elated to be working with this new group of Sparkplug artists as they experience the joys and challenges of ‘playing’ together collectively.

Lush: Reinvention
January 18 – April 7, 2019

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Lush: Reinvention
January 18, 2019 – April 7, 2019

Opening Reception:  Friday, February 15, 7-9pm 
Closing Reception: Sunday, April 7, 5pm Artist & Curator Talk

Artist:  Wayson R. Jones
Curator: Eames Armstrong

Lush: Reinvention presents a small new body of richly textured and brilliantly colored paintings. A departure from Jones’ extensive grayscale work, the introduction of vivid color is a new dialect in his personal visual language. Themes of weight, presence, and beauty emerge through abstraction.

Image: Wayson R. Jones, Meadows, 2018, (detail) Extra-course pumice gel, acrylic, Flashe on wood panel, 6”x6”x1.5” . 

January 18 – February 17, 2019

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January 18, 2019 – February 17, 2019

Opening Reception:  Friday, January 18, 7-9pm
Closing Reception: Sunday, February 17, 5pm Artist & Curator Talk

Artist:  John Ros
Curator: Stephanie J. Williams

John Ros reacts to the thirty-year history of DCAC’s main gallery by creating a site-specific, subtle installation of line-work in order to help visitors become more aware of their surroundings. Ros’ aesthetic, both clean and deliberate, exposes a need to make visible through form and line that which is easily overlooked. __lineation__ is an intervention that in its simplicity and directness encourages contemplation.

Image: John Ros, 2018-19, typed page, variant series, 8.5”x11”

Then/Again: A Gallery Exhibition 30 Years Later
March 29 – April 28, 2019

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Then/Again: A Gallery Exhibition 30 Years Later
March 29, 2019 – April 28, 2019

Opening Reception: Friday, March 29, 7-9pm
Artist/Curator Talk & Closing Reception: Sunday, April 28, 5pm

Artists: David Emerick, Lida Husik, Jenny Jenkins, Sherwin Mark, Darrow Montgomery, Fredrick Nunley, Michael Platt, Beverly Ress, and Greg Staley Curators: Philip Barlow & Pat Goslee

Continuing the celebration of DCAC’s thirtieth anniversary, Then/Again remembers the “marathon opening” of DCAC on June 16, 1989. The Corcoran had cancelled the Mapplethorpe exhibition a week before, and there was a hope that this new venue would redress the grievances of a frustrated community of artists and provide a setting to show the diversity of artists working in the District. The idea struck a nerve and crowds waited in lines outside to experience the promise of the new organization. Then/Again includes contemporary work from nine of the sixteen artists from that first show, and recognizes how far both the artists and DCAC have come over the past thirty years.

Image: Greg Staley, Legend, 2016, 41”x 30”