Vincent
March 4 ­- March 28

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By Leonard Nimoy , Directed by B. Stanley and Theatre Du Jour, Performed by B. Stanley

Thursdays, Fridays, Saturdays and Sundays at 7:30 pm

$20, $15 for DCAC membersFor Reservations: Call DCAC at 202­462­7833

One of the most beloved artists of the past century, it is largely forgotten that van Gogh’s legacy was notalways that of an artistic genius. In the one­man play “Vincent”, Theo van Gogh revisits the turbulent life ofhis brother, offering insight into the world of the tormented artist. Set in Paris 1890, only a week after hisbrother’s dramatic death, Theo appeals to an audience of van Gogh’s contemporaries who have written thepainter off as an insane fool. The result is a moving effort to rescue his brother’s legacy, transforming himfrom a madman into a beloved brother and misunderstood talent.

Based on the play “Van Gogh” by Phillip Stevens, Leonard Nimoy wrote “Vincent” using the hundreds ofletters Theo and Vincent exchanged during their lives. B. Stanley, as Theo, recreates the world of themisunderstood genius in a poignant and intimate meditation on the life of the gifted painter. The show offersan evening of laughter, tears and insight into van Gogh’s passion and suffering, while considering themeaning of art and artistry in a world where success is judged in terms of sales, by which measure vanGogh fell short during his lifetime.

Landless Theatre Presents Creating
June 5 -­ July 5

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June 5 ­-July 5, schedule: Thursdays, Fridays and Saturdays at 7:30

admission: $18/ $15 DCAC Members (at the door)

reservations: www.landlesstheatrecompany.org

The final performance of the students from Laura Zam’s six­week Creating a One­PersonPlay class

Deep Inside Oz

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admission: $12/ $10 DCAC Members (at the door)

reservations: www.landlesstheatrecompany.org

schedule: Fridays and Saturdays at 10:00

A naughty radio play by Philadelphia playwright Randy Gross. Dorothy meets Star Warsmeets burlesque. The winner of Landless Theatre’s “So Bad It’s Good” Play

Collaterally Damaged
July 15

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Collaterally DamagedJuly 15, 7:30pm

$20 suggested donation

For reservations call DCAC at 202­462­7833 COLLATERALLY DAMAGED: A provocative comedy about art and genocide.

This performance will be filmed for an upcoming documentary. Laura Zam’s groundbreaking play COLLATERALLY DAMAGED brilliantly explores the function of art to heal personaland social wounds. In this tale, Zam, the daughter of a Holocaust survivor, travels throughout Europe to retrace hermother’s persecution during the war. Her goal is Herculean: to write a play about this past atrocity that will endgenocide in today’s world.

COLLATERALLY DAMAGED, the movie, will inter­cut Zam’s live performance with footage of her travels through Poland and Germany (Tomaszow Mazowiecki, Brzeziny, Lodz, Auschwitz, Neustadt in Holstein, among others). Thefilm will also feature testimonials from contemporary genocide survivors throughout the world, some of whom willspeak after the play.

Don’t Make Me Take Off My Earrings
December 13­

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Sunday, December 13 at 7:30 pm

$10/ $8 DCAC Members

For reservations call DCAC at 202­462­7833

A comedy show and fundraiser for local LGBT organizations, T.H.E Wanda Alston House and DC Coalition, Don’tMake Me Take Off My Earrings features local, award­winning standup comedian Sampson, with special guests Keith“The Comedian” and the fabulous Ms. Freddi Vernell. Come enjoy an unforgettable evening of fun and giggles, all tosupport two fantastic local organizations.

1460 WALLMOUNTABLES 2009 !
July 17 – August 30

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July 17 -August 30, Installation: July 15 3-8pm, July 16 3-8pm, July 17 3-6pm, Opening Reception: July 17, 7-9pm Deinstallation;September 2 -6, 2-7pm

Washington, DC -District of Columbia Arts Center is pleased to announce 1460 Wallmountables, 2009. Various artists from across the DC metro area have the opportunity to hang their work in DCAC’s annual open show from July 17 through August 30. Since the original 1460 Wallmountables in 1990, when 1,460 ft of wall space was available, the event has become a celebrated tradition and one of DCAC’s most important fundraising events. Though the space is smaller, Wallmountables continues to grow. WhenArt in Americacredited DCAC with running “a steady program of new local culture”, they were referring to such events as 1460 Wallmountables

When DCAC opens its doors at 3pm on July 15, artists will find the gallery divided into 2′ x 2′ spaces. During the three-day installation process, artists will purchase up to four spaces andhang their work. We distribute the spaces on a first-come, first-serve basis. Artists know to get there early: last year there was a line down the street when the doors on the first day of installation. By the second day, we were sold out. The show alwaysfeatures work in a wide range of mediums from many different artists at various stages in their careers. From well-known names to exciting newcomers, all work is accepted. Past notables who have participated include Mary Coble, Luis Silva, Jose Ruiz, Kelly Towles and Manon Cleary. The coveted Best Use of Space prize of $100 is presented during the Opening Reception on July 17th. For more information on 1460 Wallmountables see the General Regulations listed below or go towww.dcartscenter.orgGeneral Regulations for 1460 Wall Mountables

•Each 2′ x 2′ space is $15 for non-members (maximum 4)

•DCAC members receive one free space. Additional spaces are available for $10 (maximum 4)

•Become a DCAC member at the event and receive three free spaces for a total of 4! (regular membership starts at $30)

•Each artist can purchase up to four spaces.

•Each piece must be 2′ x 2′ or smaller. Spaces may not be combined to accommodatelarger pieces (larger pieces can be divided and placed in adjacent squares)

•All art must be wall mountable.

•No painting or writing directly onto the wall

•No adhesive materials can be used for hanging (i.e.-spraymount, adhesive velcro, 2-sided tape or wallpaper glue)

•Artists must bring their own materials for hanging their work (hammer, nails etc.)

Become a DCAC member at the event and receive three free spaces for a total of 4! (regular membership starts at $30)

•Each artist can purchase up to four spaces.

•Each piece must be 2′ x 2′ or smaller. Spaces may not be combined to accommodatelarger pieces (larger pieces can be divided and placed in adjacent squares)

•All art must be wall mountable.

•No painting or writing directly onto the wall

•No adhesive materials can be used for hanging (i.e.-spraymount, adhesive velcro, 2-sided tape or wallpaper glue)

•Artists must bring their own materials for hanging their work (hammer, nails etc.)

Artists must bring their own materials for hanging their work (hammer, nails etc.)

Evil Dead: The Musical
October 8 – November 1

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Landless Theatre Company Presents Evil Dead: The Musical October 8 -November 1

$25/ $20 DCAC Members (at the door)

For tickets: www.landlesstheatrecompany.org

Keep your chainsaw handy this October as Landless Theatre Company brings the off-Broadway adaptation of Sam Raimi’s cult hit movie series to the stage for its Washington premiere! When five vacationing college students break into a secluded cabin for some innocent hanky-panky and instead discover a flesh bound book of blood-inked spells with the power to summon the demons, mayhem and show tunes commence. In what the Associated Press calls a “wickedly campy good time”, the meek-hearted Ash accidentally unleashes evil spirits and must fight for his life until dawn. 1 / 1

The Electric Possible
March 11 and April 8

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The Electric Possible; March 11 and April 8 at 7:30pm

$5 / $3 DCAC Members

The Electric Possible concert series is DC’s mad monthly laboratory for promethean soundexperiments. Over the past fiveand a half years, the series has been at the center of DC’s growing experimental musiccommunity, providing opportunities formusicians to explore unusual ideas and projects that incorporate new technology, new spirit,new energy, and new combinationsof instruments and musicians to create expanded definitions of music. The series encouragesmusicians to collaborate with eachother and with dancers, poets and other disciplines, forming new projects that may be difficultto place in other venues dueto their experimental, unclassifiable, or temporary nature. More info about the series isavailable at www.electricpossible.org.

District Calling: Freedom

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December 5 at 7:30 and 10:00

$10/ $8 DCAC Members

For reservations call DCAC at 202­462­7833

Chaos, disconnect, liberation and deconstruction. Oh, and not oppression. Occurrences following emergence fromthe silos. Ten DC artists take 6 weeks to collaborate across mediums and genres to bring you creative ruminations onthe theme of freedom. District Calling: Freedom dissolves traditional artistic categorizations by encouraging amingling of diverse styles of expression. Free Five Dollars from the confines of your pocket. Let yourself out of mentalprison for 60 minutes. We’d like you to get deep with us. Not too deep. Just deep enough.Gratefully Sponsored by the District of Columbia Commission of the Arts and Humanities andMassey Media.

Gift Exchange
May 8 – June 7

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Inspired by Lewis Hyde’s classic 1979 bookThe Gift,Gift Exchangepresents 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 conveyedin 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.

about the Curatorial Initiative; Gift Exchangeis the first of two exhibitions that will be held at DC Arts Center as part of the 2009 Curatorial Initiative. Through the Curatorial Initiative, DC Arts Center pairs an experienced curator with someone who has a strong interest in curating. The apprentice curator assists the experienced curator with an exhibition, before taking charge of the planning for a second exhibition later in the year. The program provides an opportunity for an emerging curator to gain experience with the process of planning and mounting an exhibition and reflects DCAC’s commitment to curatorial practice as an integral part of the organization’s mission of supporting emerging artists.By nurturing new curators, DCAC hopes to bring fresh blood into our own programming, while assisting a new generation of curators who will take the knowledge they learn through the Initiative out into the arts community and beyond. DC Arts Center is honored to welcome Curatorial Mentor Laura Roulet and Curatorial Apprentice Landria Shack for the 2009 Curatorial Initiative

Poetics of Material Work
September 11 – October 11

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Poetics of Material Work by Kate Carr, David D’Orio and Lisa Hill

September 11 -October 11, Opening Reception: September 11, 7-9pm, Curator: Landria Shack, Curatorial Mentor: Laura Roulet

The Poetics of Material explores the role of materiality in contemporary sculpture, featuring three artists who explore and exploit a variety of materials and processes. The resulting work marries the conceptual with striking formalism, drawing from and expanding on the legacy of post-minimalism.

Pat Goslee: Flow Mixed media works
November 21 – January 4

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Pat Goslee: FlowMixed media works by Pat Goslee, November 21 -January 4. Opening Reception: November 21, 7-9pm

Pat Goslee: Flow”Flow” represents the most recent work by Washington, DC’s Pat Goslee, an intuitive artist whose paintings seek to part the curtain that, according to Kabbalah, separates the physical world from the spiritual. The work raises the questions: How do we store information, emotional baggage, and awareness? What do we absorb and what do we filter out? What layers need to be removed, or rearranged, in order to achieve change? The most obvious unifying element in Goslee’s mixed media work is pattern: layers of color and form operate as a visual metaphor for layers of awareness. The results achieved often depict isolated moments, visualizations of energetic states rather than representations of the physical world. The work in “Flow” is, to a large degree, about not knowing. Goslee elicits the intellectual courage required to face questions not easily answered. These inquiries straddle the line between belief and science, question the nature of existence, and ultimately tap into what Jung called the “collective unconscious.” There is a freedom in the unknown which comes through intuition, and you might find that the separation between the physical and the spiritual, the personal and the universal, dissolve into a freely-flowing energy.

about the artist; Pat Goslee lives and works in Washington, DC. She received a BFA in graphic design from the University of Georgia and an MFA in painting from Catholic University. She has been awarded a Visual Artist Fellowship grant for 2008-2009 from the DC Commission on the Artsand Humanitites, an agency supported in part by the National Endowment for the Arts. Her work is included in the permanent collections of the US Embassy in Nepal, the Wilson Building (DC City Hall), the Washington Post, DC Commission on the Arts and Humanities, the University of Georgia as well as in many private collections.Gosleehas served on the Board of Directors for the Washington Arts Museum (WAM) and the DC Arts Center (DCAC), and the Advisory Committee for International Arts & Artists’ Hillyer Art Space.She has also been a visiting lecturer at local institutions including American University and the CorcoranCollege of Art + Design.

David Hartwell
January 9 – February 8

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David Hartwell Broad Street Pilgrimage, Richmond, VA

January 9 -February 8, Opening Reception: January 9, 7-9pm, Curated by Bridget Sue Lambert

On a sunny day in October 2007, David Hartwell took a long walk.He hiked 16.82 miles on U.S. Highway 250 in his hometown of Richmond, Virginia, counting the steps as he went. The highway—named Broad Street—is home to urban, suburban and rural environments. During his journey he stopped at 14 specific sites to take photographs, collect objects, and record data.Broad Street Pilgrimage, Richmond, VApresents the images that document his journey, his memories, and the souvenirs collected at each site. The memories associated with the sites are not those of high impact, traumatic, formative, or atypical events.They are, in fact, quite ordinary. David’s work examines memory and its relationship with personal history and location.

15375 Steps, 12:58pm, Broad Street and West End Drive,“I’ve seen countless movies at the West Tower theater…When Home Alone was new…it was always sold out. When we finally did get tickets, a fire in the popcorn maker set off the theater’s smoke alarm…I was so disappointed.”

about the artist; David Hartwell grew up in Richmond, VA, and was a resident of Washington DC for five years.In the fall of 2008, he moved to San Francisco, CA to pursue his MFA degree at California College of the Arts.In 2003, David received a BA from Stanford University and was awarded the Louis Sudler Prize in the Performing and Creative Arts.This is David’s first solo exhibition.

GENETIC DRIFT Gretchen Schermerhorn
February 13 – March 22

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GENETIC DRIFT Gretchen Schermerhorn; February 13 –March 22. Opening Reception: February 13, 7-9pm, Curated by Anita Walsh

In this exhibition Gretchen Schermerhorn continues to explore her fascination with science and psychology in her artistic practice. Inspired by English physicist and novelist C.P. Snow’s call for a “third culture,” Schermerhorn works to bridge the gap between art and science through both her creative process and visual references to biology and animal behavior. Pattern and sequencing in her work also references communication systems like computer punch cards and DNA coding.

With paper as her medium, Schermerhorn creates prints and sculptures using repetition and pattern in an organic way. More specifically, she shows what happens when small elements within a pattern become disrupted or changed and how this affects the overall structure. Genetic drift is theaccumulation of random changes in a gene pool. The individual changes are miniscule and gradual—and the drift is often very slow—but over time these changes cause big alterations to the gene pool. Ultimately, variants of a gene can disappear completely orevolve as in natural selection. Schermerhorn’s installations, which contrast natural patterning with decorative wallpaper, vary in much the same way—adapting to a specific time and space.

about the artist;Gretchen Schermerhorn is a printmaker and hand papermaker. Her work often combines the two media and explores the relationships between humans, science, politics and/or psychology. Gretchen is currently the Director of the Papermill and Artistic Collaborations at Pyramid Atlantic Art Center in Silver Spring, Maryland. She received her MFA in Printmaking from Arizona State University in 2004. She has completed artist residencies at Columbia College Center for Book and Paper and California State University. Her prints, books and paper works have been exhibited nationally and internationally in such places as Northern Ireland, New York, Boston and Santa Fe. Her work is in public and permanent collections including the Janet Turner Print Collection and Amity Art Foundation.

FINDINGS
October 16 – November 15

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Sparkplug presents FINDINGS October 16 -November 15Artists Talk: November 8, 3pmFeaturing work by Deborah Carroll Anzinger, Peter Gordon, Michael Matason, Lisa McCarty, Kathryn McDonnell, Karen Joan Topping and Jenny Walton

Curated by Lea-Ann Bigelow and Blair Murphy


images from left to right: detail, Deborah M. Carroll Anzinger,
Tourists, Oil, resin, acrylic and sharpie on canvas, 36″ x 60″, 2009,
detail, Jenny Walton, Opposing Forces, monotype, 30″ x 42″, 2009

detail, Michael Matason, August 8th,
Ultrachrome inkjet print, 24”x 24”, 2009
detail, Kathryn McDonnell, Hemera, oil on canvas, 54”x76”. 2009

On Sunday November 8th at 3pm, join the members of Sparkplug, DC Arts Center’s resident collective, for an artists talk and take the opportunity to seeFindings, their current exhibition in the DCAC Gallery. Findings brings together diverse work from the collective’s seven members and considers the artistic process as a mode of inquiry, a domain characterized by sustained research and vigorous experimentation, yet focused less on the production of definitive answers than on the discovery and negotiation of contradictory truths.While the exhibition demonstrates the diverse concerns and creative tactics of the nine Sparkplug members, it also reflects the purposeful development of Sparkplug as a collective over the group’s first two years of working together.

On Sunday November 8th at 3pm, join the members of Sparkplug, DC Arts Center’s resident collective, for an artists talk and take the opportunity to seeFindings, their current exhibition in the DCAC Gallery. Findings brings together diverse work from the collective’s seven members and considers the artistic process as a mode of inquiry, a domain characterized by sustained research and vigorous experimentation, yet focused less on the production of definitive answers than on the discovery and negotiation of contradictory truths.While the exhibition demonstrates the diverse concerns and creative tactics of the nine Sparkplug members, it also reflects the purposeful development of Sparkplug as a collective over the group’s first two years of working together.

Positing art as an ideal vehicle for navigating seemingly irreconcilable ideas and inspirations, and raising questions about the nature of new knowledge and the Artist’s Work, FINDINGSbrings themes cultivated during collective meetings and studio visits into the gallery space.In this way, the audience is invited to engage in active conversation with individual artists, and with Sparkplug as an organic and multifarious whole.

About Sparkplug;Currently composed of nine DC area artists and curators, the Sparkplug collective meets regularly to discuss their work, explore common concerns, grow their community and dream up creative engagements both in DC and around the world.Through its support of Sparkplug, DC Arts Center provides meeting space, legal and technical resources and exhibition opportunities to emerging artists, curators and arts writers without current gallery representation or institutional employ.Via a continuing dialogue encompassing the theoretical and the practical, the group’s members share experiences, perspectives, preoccupations, challenges, and topics informing their ongoing artistic practice.

Sparkplug: New Wor k I
June 19 – August 2 2

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Sparkplug: New WorkIn the Jenkins Community Gallery at Arlington Arts Center

June 19 -August 22. Opening Reception: June 19, 6-9pm. Artists Talk: July22, 7-9pm

DC Arts Center’s resident arts collective Sparkplug is, at present, a spirited gathering of ten artists and curators who meet twice a month to discuss their work, explore the arts in the nation’s capital, grow their community, and dream up creative engagements in DC and around the globe. In the context of this closely-focused show, Sparkplug’s mission will be to testify to its own mutable now: the now of its production, the now of its collective exchanges, the now of individual stances outside of the collective, the now that will inevitably be then soon. For a collective whose very existence is based on a charter of becoming, of sharing, of transitions, of emergence, of change…the privileging of a specific Sparkplug moment presents a persistent (albeit purposeful) challenge.

Created by Lea-Ann Bigelow and Blair Murphy, the show will highlight painting, drawing, video, photography, and mixtures thereof by: Deborah Carroll-Anzinger, Peter Gordon, Lisa McCarty, Kathryn McDonnell, Michael Matason, Mark Planisek, Karen Joan Topping and Jenny Walton

Sunbeam Foundation Benefit Concert
August 9

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schedule: August 9 at 7:30pm

admission: $10/ $7 DCAC Members

reservations: Call DCAC at 202.462.7833

A benefit concert for the Sunbeam Foundation, the show will feature various musical actscoming together to fight cancer. Featured bands include Anchorage and My Friend Autumn.

Suspicious Activities Paintings and Works on Paper
October 17 – November 16

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Suspicious Activities Paintings and Works on Paper by Aziza Claudia Gibson-HunterCurated by Michael Platt

October 17 –November 16Opening Reception: October 17, 7-9pm

Suspicious Activities:Depicting parallels between the local, national and international use of militarized language and the contradictions in our country’s foreign and domestic conduct

Rather than accusing the individual of “suspicious activities,” Gibson-Hunter turns the phrase on its head in this collection of paintings and works on paper, exposing the corruption of language and meaning that pervades our current political climate. The suspicious activities shared in her works are building blocks for a dangerous Orwellian world. The work examines language from a variety of recent and ongoing crises and conflicts, including the Iraq war, Hurricane Katrina, the numerous unsolved murders of African Americans in Washington D.C, and the ongoing crisis in Darfur, exposing parallels between the local, national and international use of political language and the covert activities they conceal. The work was created to encourage the public to acknowledge and confront the contradictions of our era.

about the artist“Aziza” Claudia Gibson-Hunter was born in Philadelphia Pennsylvania. She attended Tyler College of Art, graduated from Temple University with a BS in art education and later attended graduateschool at Howard University. After completing her MFA in printmaking, Ms. Gibson-Hunter further pursued her art, taking a class in Bob Blackburn’s Printmaking Studio and before receiving a fellowship from the Bronx Museum of Art.

Ms. Gibson-Hunter was an active member of“Where We At “, a Black women’s artists group in New York City and co-founded Black Artists of DC, to aid in developing a community of Black Artists in the DC metro area. She has also taught undergraduate and graduate printmaking courses at Howard University and, in 2007, was awarded an Artist Fellowship Program Grant from the DC Commission of the Arts and Humanities. She has exhibited in Washington DC, Maryland, New York, Illinois, Pennsylvania, Virginia, Florida, and Great Britain and represented Black Artists of DC during Art Basel Miami in 2007

Yesterday’s Tomorrow
March 27 – May 3

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March 27 -May 3

Opening Reception: March 27, 7-9pm

Artist Talk: May 3, Curated by Billy Colbert Essay by Jefferson Pinder

Ellington Robinson’s new paintings and mixed media works are inspired by the wisdom of Lao Tsu’s poems, “Tao Te Ching.” They appropriate the geometric forms of records, Dan, and Dogon masks used to initiate youth into adulthood and draw on the seascapes of St. Thomas —which are, for the artist, spiritual locations where introspection and reflection take place. Using the elemental hierarchy of shape and color, Robinson hopes to evoke a sense of solitude through interior and exterior spaces and reconnect people with a sense of “nothingness.”

“In the role of artist-philosopher, Robinson uses his works to illuminate the world around him. There is a wonderful intention in each stroke that goes beyond any formal elements that he employs in his painting.His calculated spontaneity informs and delights, while constantly being grounded in his own definition of reality.” —Jefferson Pinder

The twelfth men
June 22 – July 22

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June 22 – July 22

In the game of American football eleven players take the field. For those familiar with football colloquialisms, the phraseThe Twelfth Manrefers to the collectivity of the crowd and the fans’ emotional investment in the action. In the context of this art exhibition, the titleThe Twelfth Mancarries connotations of spectatorship and serves as an introduction into the artistic reconsideration of fandom, achievement, play, and new-age masculinity presented by Kenny George and Patrick McDonough. Seen together in this installation, the selected works challenge the marginalization of the individual fan, and re-establish recreationaloutlet as a valuable and creative, albeit problematic, social act. Utilizing model cars, super-soakers, pogo-sticks, stilts and video games as instruments of artistic expression, George and McDonough address alternative mythologies of play and maleness through varying degrees of agency that offer compelling recapitulations of boyhood informed by the development of a virtual, cyber world, as well as humorous respite from the mundane obstacles of adult life.

The Twelfth Manmarks George and McDonough’s first public collaboration. Before crossing paths as students in the MFA program at The George Washington University, George and McDonough completed BA’s at the University of Akron, and the University of Wisconsin-Madison, respectively. George currently works in several mediums, including photography, lenticular flip animation, interactive video, and video games, while McDonough’s craft is much more hands-on, often employing embroidery, collage and painting within a single object. Although each artist’s work appears disparate in medium, scale and material, the confrontation of unnecessary obstacles—the essence of any game—links the two in intention. What do these pieces tell us about the status of play in our society? Is art play? Can play be art? As the visibility of a global community of spectators grows with the unprecedented interactivity of the Internet, and leisure activities become more and more coveted during this period of economic downturn, such questioning of achievement and play conceivably identifiesthe real salience of George and McDonough’s art and the tropes displayed withinThe Twelfth Man.

Kenny Georgecurrently teaches photography and graphic design in Washington, DC. Faye Gleisserworks in the education department at the National Gallery of Art and is an independent curator with a masters degree in Art History from The George Washington University.