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Denatured
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″

Counterpoint
Sarah J. Hull

March 24 – July 16

Opening Reception: Friday, March 31 at 7-9pm
Artist Talk and Closing Reception: Sunday, July 16 at 5pm

Hull’s work explores the natural variation that occurs with repetition. Using silk thread, cotton ground fabric, and fundamental hand embroidery stitches, each piece is an exploration of a simple meditative theme. Within each element, the basic theme is systematically altered to create an evolving meditative complexity – both within itself and in the context of the series. The palette is restricted to simple black and white to highlight the “artist’s hand” in stitching each piece.

DCAC’s Nano Gallery is located within the main gallery and is dedicated to presenting miniature and smaller works in an exhibition setting.

Image: Dichromatic.05, 2017, Silk, cotton, 8″x8″

In the Space of a Day
Jenny Walton

June 23 – July 16
Opening Reception: Friday, June 23, 7pm-9pm
Artist Talk: Sunday, July 16, 6pm

In the Space of a Day, a solo exhibition of work by Jenny Walton, invites viewers to contemplate the passage of time, the vicissitudes of our natural environment, and the possibility for hope in the face of challenge and struggle. Created in three cycles – morning, noon, and night – the exhibition’s primary installation of large scale watercolors will fill DCAC’s main gallery. The exhibition will also include a small selection of silverpoint drawings by the artist which further explore themes of transformation and renewal.

Greetings from Adams Morgan
Curated by Philip Barlow

June 2 – 18, 2017

Opening Reception: Friday, June 2, 7-9pm
Closing Reception: Sunday, June 18, 5pm

Focused on celebrating and highlighting Adams Morgan as a hub for creativity and community, DC Arts Center presents an exhibition of artwork by artists who live, work, or have a studio in Adams Morgan. Selected through an open call, this exhibition features work by Yuno Baswir, Monica Jahan Bose, Renee Butler, Natalie Cheung, Rita Elsner, Pat Goslee, Sarah J. Hull, Yaroslav Koporulin, Michael O’Sullivan, Maryanne Pollock, Alex L. Porter, Lisa K. Rosenstein, Molly Springfield, Betsy Stewart, Ellyn Weiss, Joseph White, and Zarina Zuparkhodjaeva.

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:
macho
/ˈmäCHō/
noun
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″


Art Tasting
Curated by Martina Dodd, Jarvis Dubois, J. W. Mahoney, Blair Murphy, and Joe Orzal

March 24 – April 23, 2017

Opening Reception: Friday, March 24, 7-9pm
Happy Hour Discussion: Wednesday, April 12, 6pm
Artists’ Talk & Closing Reception: Sunday, April 23, 5pm

James Bernard Cole, Chanel Compton, Ricky Day, Emory Douglass, Kristen Hayes, Robert Labandeira, Zofie Lang, Nora Maccoby, Muse, Betsy Packard, Azadeh Sahraeian, Julie Wills, Khadijah Wilson, Fabiola Alvarez Yurcisin

Wine tastings offer people a chance to taste different products and discover its history, composition,
pairing with food, how it’s made and so forth. With a mind to offer a similar experience for people who
would like to hone their knowledge of art, DCAC presents its first Art Tasting. Fifteen distinctly
different pieces of art selected by five distinctly different curators will be offered with accompanying explanations of why it’s considered art, if it is part of a historical trend, how it’s made, and why they chose it.

Process & Practice
SPARKPLUG
DCAC’s Artist Collective
Curated by Andrew Johnson

February 17 – March 19, 2017

Opening Reception: Friday, February 17 at 7-9pm
Artist Talk: Sunday, March 12 at 5pm
Happy Hour: Thursday, March 16 at 6-8pm

Héctor Cataño, Eric Celarier, Alexis Gomez, Sarah Jamison, Ashley Ja’nae, Zofie Lang, Kelly Posey, Katie Pumphrey, Renée Regan, Julie Wills

Process & Practice​ comprises painting, drawing, sculpture, and mixed media installations and assemblages. Both the diverse and interrelated practices of each artist lend themselves to the unique notion of a collective. Noting the physical, mental, social, psychological, and spiritual processes of each artist, the exhibition motivates the work to reveal its origins, ultimately prompting the viewer to move beyond what they simply see.

above image: Alexis Gomez, Maquette Figure, 2016, Wood, 15 x 70 inches (lifesize)

January ’15 – October ’16
Sheila Crider

January 13 – February 12, 2017
Opening Reception: Friday, January 13, 7-9pm
Artist Talk and Closing Reception: Sunday, February 12, 3pm

Sheila Crider’s work articulates issues of contemporary culture through installations that embody social and aesthetic ideas. January ’15– October ’16 brings together mixed media pieces that utilize paper, fabric, metal, wood, and other materials, challenging our conventional definitions of fine art. Using recycled and repurposed materials and petroleum products, the installation Toxicity in the Air provokes awareness of the pollution poisoning our atmosphere.

Image: Sheila Crider, Industrial Smog, from​ Toxicity in the Air, 2016, Handmade and remade paper, acrylic, vinyl cord, tar paper, and vinyl covered pine rod, 43″ x 60″ x 6″, photograph by Greg Staley

NANO GALLERY
Mysteries
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”

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
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.

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

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.


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.

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

NANO GALLERY
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
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.

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

Memory-­scapes
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.

Dang bread left behind yall, Buck Downs, 2015

NANO GALLERY
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.

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.


Pressure Points
Black Artists of DC
Curated by Deirdre Darden

December 11, 2015 ­- January 10, 2016

Opening Reception: Friday, December 11, 7-­9 pm
Artist Talk & Happy Hour: Friday, December 18, 6-8 pm
Topic discussion & Closing Reception: Sunday, January 10, 5 pm

Aziza Gibson-Hunter, Imani Shanklin Roberts, Michael
Fischerkeller, Ashley Ja’nae, Elana Casey

Pressure points are vital points that when engaged, release energy and organize a system of communication throughout the body. In this exhibition, artists use oil and acrylic paintings, multimedia collages, and ink on paper to look at society’s pressure points and the external systems which cause internal stress, congestion, ache and fatigue. This visual analysis is not a protest, or the application of pressure, but instead the energy release that compresses tension and creates dialogue, relief.

pressure points on the sore
shoulder of US
when it’s released
onto US
first a rush of pain
through US
then sensations rage
in [ the ] US
­-Deirdre Darden
Singles Faire #6, mixed media on NY metro card, 2011,, 2.5” x 3”

NANO GALLERY
Singles Faire: Intimate Gestures
Jenny Walton

November 6, 2015 ­- January 31, 2016

Opening Reception: Friday, November 13, 7-­9 pm
Gallery Talk: Sunday, January 31, 5 pm

Singles Faire is a body of work by artist Jenny Walton that repurposes instructional physical therapy diagrams to imagine narratives within attraction of the opposite sex. The figures in the works take on new meanings when attention is given to the subtle interplay between postures – what was once a neutered illustration becomes a situation of potential intimacy with the opposite sex. The added layer of ambiguity from implied non-­verbal communication between subjects opens the works to multiple interpretations ranging from attraction to repulsion.

The small paintings in Singles Faire: Intimate Gestures were created on New York City, Washington, DC transit fare cards, and paper ephemera. These bits of paper intensify metaphors of passage and journey from their original intentions as fare cards to works that develop layered meanings in body language. A variety of techniques including media transfer, watercolor, and drawing were used to create these works into awkwardly humorous views into the lives of singles.

Ground Zero XVI, 2013, found graffiti, neon, 2’x 3’x 3.5

Ground Zero
Craig Kraft

October 23 -­ December 6, 2015

Opening Reception: Friday, October 23, 7 -­ 9 pm
Neon Light Sculpture: Historical and Contemporary use of Light in Art: Sunday, November 15, 7 pm

Discussion and Closing Reception: Sunday, December 6, 5 pm
Graffiti vs. Neon: Discussion led by Kraft, moderated by Dr. Claudia Rousseau\

“After transforming my own random scribbles into neon drawings in the series “Unintentional Drawings” I
noticed a photograph in (the NY times) of the Ground Zero Blues Club taken by Shane Lavelette for the High Museum in Atlanta. It was for an exhibition titled Picturing the South, 2010.

The image of a corner of the club immediately resonated, reminding me of my own random graffiti. Yet it was different; it was done by strangers in a dark classic southern blues club. There were decades of mostly intentional, overlapping marks entirely covering the club. In February of 2013, I traveled to Clarksdale to see the graffiti, first hand. The visual impact was astonishing. The feeling was similar to when I discovered my unintentional drawings years before. I stayed for two days in Clarksdale collaborating with photographer Evy Mages taking 1,000’s of images of the club walls, ceilings and furnishings. They were all taken in low light and hand held. I selected the most poignant images, knowing I was going to light them and had them printed on 3’ x 2’ Epson premium photo paper­ enhanced matte. Painted and scratched neon tubing was then used to highlight, deconstruct and reinvent the original images.” ­

–Craig Kraft, 2015 ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­


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.

Untitled #1889, Acrylic, black and white charcoal, chalk, and oil pastel
2015, 7″ x 9″

NANO GALLERY
Small Worlds
Rebecca Grace Jones

July 24 ­- October 25, 2015

Opening Reception: Friday, July 24, 7-­9 pm
Artist Talk & Closing Reception: Sunday, October 25, 5 pm

When I start a painting I rarely know what it is going to turn out to be. I don’t use reference. I work intuitively.

I am interested in building up textures with my materials and creating a series of layers that reveal the history of each one’s application.

Often a painting is painted over, scraped off and reapplied in a new form. The repeated constructing and destroying and recreating builds a rich surface. The paintings are often finished with details, sometimes whimsical, always with attention to the subtle beauty of the mark.

The 18 pieces in this exhibit were worked on at the same time on one large sheet of watercolor paper. Some were resolved before others. Some took more attention. The resolution of one might have informed the solution for the next. Each one was lovingly manipulated until it spoke to me.

-­Rebecca Grace Jones, June 2015

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.


#thisistomorrow
Work by Kirsten Leenaars
Curated by Jose Ruiz

March 20 -­ April 19, 2015
Opening reception: Friday, March 20, 7-­9 pm
Artist talk & closing reception: Sun., April 19 at 5 pm

In her first solo exhibition in Washington, Chicago-­based artist Kirsten Leenaars presents a suite of video installations and text-­based works that taken as a whole are both a starting point and departure from our current political climate. #thisistomorrow brackets recent events such as Ferguson and Charlie Hebdo, among others, in order to form a sociopolitical space that can exist outside of the media and in the hands of a community.

In her newest video piece, especially conceived for DCAC and filmed in DC, Leenaars mines the tradition and format of the protest song and protest poem ­as an open call that brings together a range of local performers, musicians and poets to cathartically respond with their own artistic inflections and concerns. Re­mixed as a narrative sequence rather than a series of auditions, the video acts as a form of creative reportage uncovering personal experiences, collective histories, and a form of succinct expression that is devoid of hashtags, social media, and politicized slogans. What surfaces is a cross­ section of a local, creative community’s response to the abuse of power and the radicalization of ideas. The performers in the video include: Shanna Lim, Christianna Clark, Born I Music, Joseph Ross, Katy Richey, Alan King, Abby Braitwaite, Courtney Dowe, Mansoor Celestin, and Ethelbert Miller.

Two additional works form a conceptual triangle. A series of appropriated text-­based works derived from protest signs and placards of grievance, such as “Je suis Charlie,” highlight the possible shift towards an empathetic social consciousness. Yet they also implicate the subjective nature of language. Words, too, have the power to align themselves into unexpected chords of nuance, to pivot and reveal. Leenaars’ second video, Not In Another Place, But This Place… (Happiness), addresses the personal and collective notions of happiness. Acting as a neighborhood artist-­in-­residence in Edgewater, Chicago, Leenaars worked with local residents from all walks of life to respond to the prompt in the American Declaration of Independence—the pursuit of happiness. The three-­channel video is composed of scenes in which community participants embody their version of happiness through various performative actions within specifically designed sets.

As with most of Kirsten Leenaars’ work, her projects’ participants are given both the power and the role to complete the artwork rather than just being the subject in it. This spirit of art making underscores a progression in art, where the artist’s practice is perhaps more akin to that of a choreographer, producer, and community activist.


NANO GALLERY
Thank You Artist Friends on Facebook Project
Akemi Maegawa

March 13 ­- June 21, 2015

Opening Reception: Friday, March 13, 7­-9 pm
Gallery Talk: Sunday, June 21, 5 pm

“The majority of my Facebook friends are artists and art related people whom I have met before or artists whom I would love to meet in person one day. Facebook has become a virtual art salon to me. Of course I would prefer to meet friends and discuss things face to face but everyone’s busy schedules and different locations (many of them are international friends) won’t allow us to meet face to face easily.

Because of Facebook I feel close to far away friends and family as getting everyday information is so easy. We can discuss our concerns or social issues any time and pass around important news instantaneously. It is the biggest power of social media and I think artists are playing an important part in supporting our freedom of speech and expression through social media like Facebook.

My Thank You Artist Friends on Facebook Project allowed me to look closer at each of my artist friends. This project made me think about our crazy everyday life and let me take a longer time to reflect and question how we process any single image from the Internet.

I decided to reproduce a small profile picture of each of my artist friends on a small ceramic tile to be able to feel his or her presence and make the moment permanently frozen in time. I was hoping that those portraits, being the physical images on tiles, would remain to be “real” despite being shared only virtually with friends. I looked thoroughly at each of my artist friend profile picture on my cell phone and when I finished making a tile portrait I got a feeling that each time I learned something new about this person.

I made porcelain tiles and sketched/etched each artist profile picture directly on them. There was no eraser or pre­sketch practice tiles. I prepared only one tile for each friend and used only a needle tool to make each sketch. I had to really stay focused and be careful not to damage their “face” which they chose to share with public on Facebook. As an artist and an art supporter, I tried my best to focus­ while etching each of the artist portrait­s in our time together and concentrating my thoughts on the person and how to show my appreciation and respect for each of them. I am very happy to have a chance to show those portraits at the exhibition and share my admiration to their persistence and achievements. I plan to keep adding the tiles as I make new artist friends on Facebook.”

-­Akemi Maegawa, February 4th, 2015

Fabiola Yurcisin,
Tree Mannequin Three, 2012

Dis/Satisfaction: Permission to Rewrite History, It’s Personal
SPARKPLUG, DCAC’s Artist Collective
Curated by Kathryn McDonnell

February 13 – March 15, 2015

Opening reception: Friday, February 13, 7-9 PM
Artist talk & closing reception: Sun., March 15 at 5 PM

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

Dis/Satisfaction: Permission to Rewrite History, It’s Personal is the introductory exhibition of
the newest Sparkplug, DCAC’s Artist’s Collective. Composed of nine diverse artists from the DC metro area, the works run the gamut from painterly expression to socially engaged performance art. This exciting body of work offers compelling and engaging commentary on current social issues and norms.

The Fallen, recycled latex house paint and charcoal on canvas, 88w x 55 h

Composite Allusions
Duly Noted Painters: Matthew Malone and Kurtis Ceppetelli
Curated by: Joe Hale

January 9 -­ February 8, 2015

Opening reception: Friday, January 9, 7-­9 PM
Artist talk and closing reception: Sunday, February 8 at 5 PM

Composite Allusions presents the recent collaborative paintings of Duly Noted Painters Kurtis Ceppetelli and Matt Malone. The work intersects a broad survey of the history of painting, relating Henri Matisse to Jean-­Michel Basquiat and arriving in the contemporary zeitgeist of the raw and repainted public wall. Just as the historical paintings they allude to broke set rules relating figures to ground, and craftsmanship to art, Malone and Ceppetelli’s work transcends rules regarding author and co­-author: against the advantage of their egos, their paintings merge into the mutual “deskilling” so sought after in a tradition as overwrought as painting. Instead of the typical, trite, co­-expression of fixed identities found so often in collaborative works, these paintings represent the romantic impulse of a generation that finds as many sublime unknowns in the other as in the self. As immediately modern as their paintings may appear, Duly Noted Painters undoubtedly make a postmodern twist on Claude Bernard’s famous saying “Art is I: Science is We” as, in their works, art is also “we.”

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. 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.

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.

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.

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?

Rachel Schmidt, ​City Herd, ​2013

(inter)Related
SPARKPLUG: DCAC’s Artist Collective

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.

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.

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

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?

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.

Cloudrise, aluminized metal inkjet photo print, 2008, 20” x 26”
AT THE CROSSROAD: a topography of space, time and memory
Michael Horsley
CURATOR: 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.

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.


External Memory
Curated by Chandi Kelley

June 7 – July 14, 2013

Exhibition Opening Reception:Friday, June 7, 2013 from 7 to 9 pm
Artists talk: Sunday, July 14 at 5:00 pm

Amy Hughes Braden, Lee Gainer, Piper Grosswendt, Michelle Lisa Herman, Rebecca Kallem, Corwin Levi, Rachel Schmidt, and Stephanie Williams.

Through diverse methods and materials, these artists are processing, filtering, and ultimately applying new meaning to the vast amount of information feeding our culture. Effectively embracing a collective stream of consciousness, these works draw on the many sources of input that color our perception of the world around us.

Modern technology is filled with content that spreads and tools that are designed to transcend our human limitations. The notion of forgetting is replaced by greater storage capacity, and external memories become extensions of our internal thought processes. The internet provides a democratization of information, allowing the past, the present, and the future to coexist. Our personal histories and collective experiences overlap, adding complexity and subduing information simultaneously.

The works in this exhibition manifest an outgrowth of the human mind and an increased consciousness of our world as experienced through various forms of media. These artists are responding to our digital age with a tangible potency, focusing on material and finding a place in the world through physical objects. Piper Grosswendt, Amy Braden, and Stephanie Williams use repurposed materials to create their works, transforming original functions and taking objects known and familiar to create works that are alien and mysterious. Radio Sebastian, Becca Kallem, and Lee Gainer work with text and imagery that is accessible in the public domain to convolute and alter information, encouraging new associations. Rachel Schmidt and Michelle Lisa Herman layer their materials to create new realities, prodding at the unknown. Each artist is dealing with this input and its sources in very different ways, but always engaging our senses via materiality.

Nick Collier, VS., 2012, Welded Steel, Wood, Mixed Media, 36” X 20” X 18″
Fear Strikes Back
Curated by Helen Frederick
Apprentice Curator: Jessica Pavone

April 26 – June 2, 2013

Opening Reception: Friday, April 26, 2013 from 7 to 9 pm

Shahla Arbabi, Ed Bisese, Colby Caldwell, David Carlson, Mei Mei Chang, Michele Colburn, Nick Collier, Anna U. Davis, Sam Holmes, David Page, Annette Polan, Joyce J. Scott, and Julia Kim Smith

Curator Helen Frederick elicits the reactions of thirteen Baltimore-Washington DC based artists, who use various art mediums to question our current problematic conditions with regards to social issues and justice, in the exhibition FEAR STRIKES BACK.

This exhibition examines how we handle our fears and anxieties culturally, and how we build upon distortions of information fed to us by various types of media and social networking. One of the most urgent challenges facing society today is how we live with people who differ economically, racially, religiously, and ethnically. The thirteen artists selected were asked to present works that may transfigure suffering into other concepts, depending on their sensibilities.

All the artists in the exhibit are, in various ways, dedicated to community work and observing realities that affect their particular dilemmas and their unique positions in their communities, voicing their opinions without turning their backs. These major artists feature installations, new media, sculpture, video, sound, and two-dimensional works on paper and canvas.

The theme FEAR STRIKES BACK is derived from James Elkin’s book The Object Stares Back that supplies reasoning for how we see and how we don’t. The title also refers to how we too often “look back” in terms of concerns of social justice. The work in FEAR STRIKES BACK, allows us to observe our 21st century overexposure to the troubling, violent, and sometime staged images, which can lead us to mixed emotions – enjoying the spectacle of a horrible situation or sobering subject, while wanting it to stop or be stopped.

Susan Sontag professes in Regarding the Pain of Others that “the image as shock and the image as cliché are two aspects of the same presence.” Sontag also declares that there is not collective memory but collective instruction. In photography for example “The problem is not that people remember through photographs, but that they remember only the photographs….this…eclipses other forms of understanding, and remembering.” Sontag goes on; “At the beginning of modernity, it may have been easier to acknowledge that there exists an innate tropism toward the gruesome.” When we apply these concepts to the information that we are fed through our contemporary media and social networks, it is apparent that subversive influences are part of our lives.

Construct 4, Oil/Wax Medium on Plywood, 24 x 24 x 2 inches
ARCHEO
Joanne Kent
Curated by Stuart Greenwell

March 22 – April 21, 2013

Opening Reception: Friday, March 22 at 7:30 PM

DC Art Center presents the paintings of DC artist Joanne Kent in the exhibition Archeo, curated by Stuart Greenwell. Kent’s “constructed” paintings express themselves through the skillful use of materials—in this case oil paint and cold wax medium.

Says Kent, “My work is a continuing exploration of paint and its application. The works are experiential, about oil paint, color, texture, form, the intrinsic qualities of the materials, and how these works exist in an environment. I also sculpt (make constructions out of plywood and give the surfaces painterly treatment), and photograph, capturing similar forms and sensibilities.”

Greenwell goes further: “When looking at Kent’s work, my time as a child in the woods examining flora and fauna, minerals and organic matter, creeks and the creatures that inhabited them rush back to me. Her primal, unpurified surfaces bring to mind those organic elements: tree bark, stratified earth or stone, weathered wood, and quasi-ancient artifacts.”

Masterly manipulated, Kent brings painting squarely into the third dimension. Compact, thick and deeply engaging, the work invites the viewer to take time to examine them closely, as they unveil themselves slowly.

September (gray), oil and distemper on canvas, 2013, 32”h x 24”w

Distributed Processes
William Whitaker
Curated by Tom Drymon

February 15 – March 17, 2013

Opening reception: Friday, February 15 from 7 to 9 pm.
Artists talk: Sunday, March 17 at 5:00 pm.

The paintings in Distributed Processes reflect William Whitaker’s ongoing interest in the invention and experience of painted space. Whitaker chose diptychs rather than single canvases to force a disruption in the current, requiring a willful disregard of previous impulses to respond in a similar way—the line interrupted must find a new way; color against color becomes a choice of compliment or contrast; perspective must be altered or ignored; and space becomes ambiguous. Whitaker’s work achieves a difficult balance—intent and spontaneity co-existing to create new and unexpected worlds.

Whitaker’s work begins on paper with a series of drawings. Looking at his sketchbook, it would be easy to assume that these are random scribblings. But page after page reveals patterns, repetition, movement that are part of the artist’s muscle memory. It’s like automatic writing but from a completed script meditative, yet purposeful and guided by rules as much as whimsy. These drawings become part of the larger works, transferred to canvas by tracing or projection.

Whitaker describes his work as informed by (capital M) Memory—not the recollection of past events, sensations or feelings but rather the way Memory works throughout the brain informing sensation and movement and feeling and free will. From this process, Whitaker strives to create new spaces using these cobbled-together bits. Viewing his work should be thought of as a journey through neural pathways, a sometimes random and sometimes deliberate route designed to recreate the space around us.

The Unknown, Acrylic on Canvas, 36” x 36”
Journeys
Shanthi Chandrasekar
Curated by JW MAHONEY

January 11 – February 10, 2013

Opening Reception: Friday, January 11, 2013 from 7 to 9 pm

DC Arts Center presents Journeys, a solo show of Washington D.C. artist Shanthi Chandrasekar. Her work is addressed to her inner sense of truth, which may best be defined in Her own term for the work in this show — Journeys, meaning a flow, a narrative, and/or an evolution. Her visual images whether representational or abstract, imply the presence of a truth behind them. That truth may be entirely personal, or universally obvious, but it’s expressed as a visual image.

Charles Sessoms, No Place Like Home, archival pigment print, 2012. 16″ x 20″
A/way Home
Curated by Jarvis DuBois

November 30, 2012 – January 6, 2013

Opening reception: Friday, November 30, 2012 from 7 to 9 pm.
Artists’ talk: Sunday, January 6, 2013 at 5:00 pm.

Alex Alexander, Carolyn Goodridge, Thomas Gomillion, J. Hubert Jackson, Esther Iverem, Magruder Murray, Chareles Sessoms, and Eugene Vango

DC Arts Center and The Black Artists of DC present the group exhibition: A/way Home in which artists examine the ideas and realities of “Home” including and beyond the concept of the dwelling and geographic place and time itself.

DC Artists Alex Alexander, Carolyn Goodridge, Thomas Gomillion, J. Hubert Jackson, Esther Iverem, Magruder Murray, Chareles Sessoms, and Eugene Vango interpret their individual views of “Home” within their artwork. These artists contextualize and visualize feelings of alienation, settlement, dislocation as well as relocation due to historic forced removal, urban development, employment status, loss of familial or cultural ties, and/or one’s sense of rootedness to real and at times imagined spaces in their individual art practice.

In view of the recent debates, misunderstandings, proposed and approved legislation regarding home foreclosures, homelessness and displacement, and immigration reform the notion of this physical and psychic space of both comfort/discomfort and connection/disconnection and possibly reconnection can be problematic and murky.

A/way home leaves the viewer wondering, how these artists seek to resolve these often conflicting feelings lies at the heart(h) of this exhibition and can we every truly go home again? Or just long for what was or could be?

“…he could not believe how much he had once hated this place. Now it seemed both fresh and ancient, safe and demanding. – from Home, by Toni Morrison

Jarvis Grant, The Dream Chamber in Conversation,
The Blues and Other Colors
Curated by Tim Davis
Presented by Black Artists of DC

November 18, 2012 – January 8, 2013

Opening Reception: Friday, November 18, 7 – 9 PM

Cedric Baker, Magruder Murray, Adjoa J. Burrowes, Gloria C. Kirk, Bruce
McNeil, Hubert Jackson, J’Nell Jordon, Carolyn Goodridge, and Jarvis Grant

The Blues and Other Colors assembles photographs and paintings by nine artists in an attempt to visually express and interpret The Blues. A musical form and genre originating in African-American communities at the end of the 19th century, The Blues have permeated jazz, rock and roll as well as multiple other music genres. Yet, the word blue also connotes the primary color perceived from light of wavelength 440–490 nm and may represent happiness, optimism, or, conversely, sadness. The artists in this exhibition interpret the blues as a color, musical form, and emotional state.

Bill Hill, Light in August, oil on canvas, 2009
Signals
Curated by JW Mahoney

October 12 – November 25, 2012

Opening reception: Friday, October 12 from 7 – 9 pm.
Artists talk on Sunday, November 25 at 5:00 pm.

Hannah Sears, Jeff Spaulding, Greg Hannan, Robin Rose, Richard Dana, Sharon Fishel, David Jung, Renee Butler, Joe White, Tazuko Ichikawa, Susan Greenleaf, Kurt Godwin, John Dreyfuss, Bill Hill, Carol Goldberg, and Renee Stout.

Over 40 area artists in two spaces create DCAC’s new exhibition which declares that there is a distinct Washington School of art and offers a manifesto to prove it.

JW Mahoney, DC curator, artist and arts writer takes on the task of proving that there is a distinct “school” of art that has been coming from Washington, DC for decades. As he states in his manifesto, “We’ve always recognized the unique qualities of what we’ve been doing here, fundamentally distinct from the values, and fashions of mainstream contemporary art. Signals isn’t intended simply to showcase the best artists in DC, but rather, to demonstrate how alternative the Washington art scene really is.”

To prove his point he has gathered over 40 area artists and created a massive salon-style exhibition. Mahoney will hold a debate on the subject and there will be a poetry reading and other events surrounding the exhibition.

Since the exhibit is far too large for the DCAC gallery walls additional space needed to be commandeered, and a pop-up gallery across the street in the now vacant space once occupied by the Café Lautrec will handle one particular theme while the home gallery hosts the other. The mural of Toulouse Lautrec’s face still holds commanding sway over Adams Morgan and will watch over audiences crisscrossing 18th Street to go between the spaces to decide for themselves whether or not Mahoney proves his case.

Victoria Fu, Untitled (Hole), Archival inkjet on Crane Museo Max paper, 30 x 40 inches, 2012
Microscapes
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.

Singularity, Chajana denHarder, Digital Print of Photograph (edition of 3), 16” x 20”, 2012
Loose Ends
Curated by Deborah Anzinger

June 15 – July 15, 2012

Opening reception: Friday, June 15 from 7 to 9 pm.
Artists talk: Sunday, July 15 at 5:00 pm.

Chajana DenHarder, Joe Hale, Chandi Kelly, Matt Smith, and Dafna Steinberg.

The most recent works of the five artists in Sparkplug display a deft navigation of the juncture between collectivism and the individual.

Loose Ends is the final exhibition of the current members of Sparkplug, DCAC’s artists collective. Through Video, photography, painting and sculpture these artists study themes of shifting frames, deconstruction of systems, and neo-romanticism. Loose Ends incorporates these themes as threads that link artist to artist but never tie them together, thereby highlighting the paradoxical interplay between collectivism and the individual.

These artists negotiate with and unseat the canons of their chosen disciplines: Matt Smith utilizes techniques originating from the craft of quilt making within the convention of minimalist post-painterly abstraction to make pictures that look like paintings but are ultimately stitched fabric. Chandi Kelley uses digital photography, a medium associated with the obsolescence of photography’s authority on the truth, to document museum-constructed environments that emulate a disappearing natural world. Chajana DenHarder compromises the indexical nature associated with photography by not only physically tearing through pictures and disrupting them with paint, but she also re-photographs the aftermath, self-consciously reigning materiality back into the realm of illusion. Dafna Steinberg tries to make sense of the present by piecing it together from the future, and Joe Hale raises his subjects to epic status using painterly gestures to break them apart with a machine. Loose Ends represents each of these artists as open systems operating within the mutable environment of Sparkplug. Loose Ends, an exhibition of artist participants in DCAC’s Sparkplug program.

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.


Ripography: Works with Paper
Rex Weil

March 23 – April 29, 2012

Opening reception: Friday, March 23, 7-9 pm
Artist talk: Sunday, Spril 29, 5-6 pm

Rex Weil uses cultural symbols of success fetishized in commercial photography to create works that blur lines between installation and collage. The gratuitous signs of pleasure and success that drift daily through the mail slot– luxury catalogs, realtors’ brochures, and home renovation magazines– are the materials Weil uses to construct work that recalls Barthes’ Mythology. Through intuition, analysis and mordant humor Weil illuminates the discourse of repression, desire, exploitation and frustration percolating just below the surface of commercial photography. For the artist each shred of imagery is tantamount to an isolated bit of DNA from which the complete texture of sour social and economic relationships can be surmised. Pumped up lips, gold chains and other fragments are removed from the systems that imbue them with power and isolated within dialogue of desire, frustration and exploitation.


Emerging from the curious: Common Place Anomalies
Stephanie Williams

February 10 – March 18, 2012

Opening reception: Friday, February 10 from 7 – 9 PM

Stephanie Williams’ first solo show playfully invites us into bizarre and enticing organic systems. DC Arts Center is pleased to present Emerging from the Curious: Common Place Anomalies, the first solo show of Washington, D.C. artist Stephanie Williams. In this exhibition of drawings and paintings, Williams examines and playfully prods constructs formulated to understand our world. The show takes its title from Williams’ exploratory artistic method, in which she uses strangeness to make space for creative questioning. Her works, ripe with texture and oozing sensuality, invite us into bizarre yet enticing organic systems.


World’s first Art Decathlon to be at DC Arts Center

January 13 – February 5, 2012

Opening Reception: Friday January 13 from 7-9 pm
Artist talk and awards ceremony: Sunday, February 5, 5 pm.

Four artists compete in 10 categories to claim the title of best artist If the best all-around athlete is one who most efficiently balances speed, strength, technique, and endurance, then what defines the best all-around artist?

This good-natured competition sparks the debate around the issue of what it means to be the best all-around artist, challenges individuals to try their hand at new disciplines, and gives exposure to artists who embrace working in various media.

In the spring of 2011 DCAC posted an open call for individual artists in the DC metropolitan area submit proposals that explore the significance of what “unspecialized” means to being a working artist today. Artists were told they had to “compete” in ten artistic areas: Textiles/fiber art, Painting, Drawing, Video, Printmaking, Photography, Collage, Sound, Conceptual Art, and Sculpture.

Applicants from diverse backgrounds were narrowed by DCAC’s Visual Arts Committee to four semi-finalists: Shanthi Chandrasekar, Lee Gainer, Lisa Rosenstein, and Mary Woodall. During the six-month run-up to the exhibition, designated commentators Buck Downs, Patrick McDonough, Karen Joan Topping, Hays Holladay and Ryan Holladay, covered the progress of the decathletes on a blog as the artists created work for the show, with each commentator being assigned an artist to visit once a month. Shanthi Chandrasekar likened her experience to “learning to drive on the expressway” and Lisa Rosenstein states “this competition has changed the way I look at my whole working process.”

The opening reception for The DCAC Art Decathlon will take place on Friday January 13, from 7:00 – 9:00 and culminate in an artist’s talk and awards ceremony on Sunday, February 5 at 5:00. The work of all the semi-finalists will be on view at DCAC from January 13 to February 5, during which time it will be viewed and judged by an eight-person panel including George Hemphill, Andrea Pollan and Vivian Lassman. Two discussion panels will be held during the exhibition, one focused on the relationship of athletic competition and a second on art and the creative process for the four finalists.

Study for Votive Painting, 2011
The Phono-Graphic Cycle
Champneys Taylor
Curated by Casey Smith

October 14 – November 13, 2011

Opening: October 14, 7-9 pm
Happy Hour Reception: October 20, 6:30-8:30 pm
Artist Talk: November 13, 5 pm

This exhibition features paintings by DC-based artist Champneys Taylor that reflect Taylor’s ongoing intrrest in color, luminosity, and invented landscapes both physical and psychical. This is the artist’s first solo exhibition in the Washington area.

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.

Chandi Kelley, Untitled, Archival Inkjet Print, 24″ x 36″, 2011
Something Other Than The Present
Curated by Blair Murphy

June 17 – July 17, 2011

Members Only Preview: June 16, 7-9 pm
Opening Reception: June 17, 7-9 pm
Artists Talk: July 16, 5 pm

Work by Chajana denHarder, Todd Gardner, Joseph Hale, Chandi Kelley, Matt Smith, and Dafna Steinberg

Sparkplug presents Something Other Than The Present, a group exhibition exploring the desire for non-existent places, and unreachable times. The members of DCAC’s Sparkplug collective present work that both reflects and comments on the common human longing for places, times. and states that are, ultimately, unattainable.


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.

Mills, Acrylic, Colored Pencil and Contact Paper on Panel, 2011, 14″ x 10″
Travel Season
Chloe Watson
Curated by Geoff Delanoy

April 15 – May 8, 2011

Opening: April 15, 7-9 pm
Artist Talk: May 7, 5 pm

Chloe Watson uses acrylics, colored pencil and contact paper to create abstract imagery of familiar spaces that creates a dialog between individual memories and collective spaces. The stripping of details, save for patterns which serve as a surrogate for the real, form highly geometric representations, which become spaces for reflection and the projection of experience.

From 2009 studio installation, inheritance, 96″ x 80″ x 80″, steel, upholstery, fabric, raw wool, and thread
family room
Stewart Watson
Curated by J.W. Mahoney

March 18 – April 10, 2011

Opening: March 18, 7-9 pm

Steel rods and pillowy puffs, and casters and feathers and shiny fabric and probably some drawings and maybe a book or two.

Baltimore sculptor Stewart Watson’s installation, “Family Room,” will transform DCAC’s exhibition space into a living hive of connectivity, a network of metal rods and soft cushions that will telegraph a dialogue between unresisting softnesses and restlessly irresistible forces. The word “family” is a deliberate ambiguity – from the idea of a human domestic interior, with its own psychodynamics, to the “families” of subatomic particles, whose invisible relations occur at unimaginable speeds – and the “room” will have become the site of a dauntingly abstract drama.


Paint Mix
curated by Rebecca Kallem

February 11 – March 13, 2011

Opening reception: February 11, 7-9 pm
Artist talk: March 13, 5 pm

Featuring work by: Emily Do, Christopher Dolan, Mike Dowley, Brian Kelley, Joren Lindholm

Paint Mix: Five DC/VA Painters” highlights the work of four emerging painters who live and work in Virginia and Washington, DC. Curator Becca Kallem invites Emily Do, Christopher Dolan, Mike Dowley, Brian Kelley, and Joren Lindholm to show their work. As a group, the paintings play with the slippery boundaries between abstraction, representation, and nonobjective art. Whether showing us a recognizable landscape or a cluster of shapes, each artist makes a beautiful mix of colors, marks, feelings, and ideas.

Reinvent Series No. 10, Acrylic and acrylic enamel on resin board, 2010
ReSolve
Richard Siegman
Curated by Joanne Kent

January 14 – February 6, 2011

Opening reception: January 14, 7-9 pm

ReSolve is abstractionist Richard Siegman’s re-examination of a 30 year painting process that finds him creating his most realized, and freshest work to date. By balancing his signature expressionist gestures against a contra-indicated slick, hard-edged ground, the result is a controlled dynamism of infinite proportion.

Danielle Scruggs, Untitled, Digital photograph, 60″ x 48″, 2010
FOCUS GROUP: Four Walls, Five Women
Curated by Zoma Wallace

November 19 – January 9, 2011

Opening Reception: November 19, 7-9 pm
Artist Talk: January 9, 5 pm

Kristen Hayes, Natalie Lords, Jamea Richmond Edwards, Amber Robles-Gordon, Danielle Scruggs

Presented by Black Artists of DC (BADC). A discussion on how material languages are deciphered, valued, interwoven, and acquired.

Arcmanoro Niles, David with the Head of Goliath, charcoal, 29″ x 40″
Black
Jurors: Renee Stout, Blake Kimbrough, and Marvin Bowser
Curator: Amber Robles-Gordon
Co-Curator: Daniel T. Brooking
Judges: Teresia Bush and Eugene R. Vango

Friday, November 20 – Sunday, January 10, 2010

Opening Reception: Friday, November 20, 7:00 pm-9:00 pm
Artists Talks/Closing Reception: Sunday, January 10, 5:00 pm-7:00 pm

The exhibiting artists are: Valentine Andaya, Akili Ron Anderson, Cedric Baker, Deidra Bell, Anne Bouie, Daniel T. Brooking, James Brown, Jr., Adjoa Burrowes, Sonya Clark, John Cooper,T.H. Gomillion, Amber Robles-Gordon, Kristen Hayes, Claudia Gibson-Hunter, Gloria C. Kirk, Serinity Knight, Viola Leak, Jacqueline Lee, Harlee Little, Bruce McNeil, Arcmanoro Niles, Michael Platt, James Porter, Alec Simpson, Stanley Squirewell, Willard Taylor, Carlton Wilkinson, Anne Marie Williams and Prelli Williams.

We want to reveal Black, as it has never been seen before. Black asks artists to think introspectively about the emotional and theoretical, the spiritual and cultural, the intellectual and physical aspects of their personal perceptions of blackness. Each artist’s objective was to move beyond black as an absence of color and into the predominance of black as a physical and conceptual part of their creations. Artists were able to claim, adorn, redefine and enfold the black experience in and throughout their work.

Audiences will be able to relish in black: it’s elegance, depth, and sensation of infinity. The show’s artists have captured the emotional impact of the joy, passion and spiritual response audiences experience to the blues, gospel, jazz and hip-hop. The energy, elegance, and spiritual nature of the black preacher, politician, academic, actor, and activist is communicated in each individuals interpretion of the color and the concept of Black.

Present Interval / Intervalo en el Presente
A video installation project by Alberto Roblest

Friday, November 5, 2010 (Opening Reception at 8 PM)
Saturday, November 6, 2010 (After Dark)

Video artist Alberto Roblest brings his latest public art project to the heart of Adams Morgan for two nights only. “Present Interval / Intervalo en el Presente” is a temporary video installation that will transform a triangle of redbrick and asphalt at the intersection of 18th Street and Columbia Road NW into a museum experience without the museum or even a roof. It will be a cultural experience that you can stroll through, under a starry sky.

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.

Joseph Hale
Facts and Fictions
Curated by Blair Murphy

June 18 – July 18, 2010

Opening Reception: June 18, 7-9 pm
Artists Talk: July 18, 5 pm

Featuring work by Rob Chester, Chajana denHarder, Todd Gardener, Joseph Hale, Chandi Kelley, Matt Smith and Dafna Steinberg Featuring work by the seven new members of DCAC’s Sparkplug artist collective, Facts and Fictions highlights the tension between the real and the constructed, between the production of elaborate fictions and the documentation of a seemingly concrete reality. Working in painting, photography and mixed media, the artists in the exhibition blur the boundaries between documentation and creation. Fictional narratives and imagined characters inhabit fantastical worlds that nonetheless speak to everyday experiences and anxieties. In other instances, work created with an eye towards everyday human experience transforms otherwise ordinary moments into unfamiliar and surprising visions.

Zoé Hathaway, Earth Song, 36” x 29” x 4”, glass, 2010
Abstract Realities
Curated by Trudi Van Dyke
Apprentice Curator: Pam Rogers

May 14 – June 13, 2010

Opening Reception: May 14, 7-9 pm
Artists Talk: June 13, 5 pm

Featuring work by Allen Levy, Ann Elizabeth Gedicks, Zoé Hathaway, Cherie M. Redlinger, Felisa Federman and Damian Yanessa

6 contemporary artists in a variety of media explore reality with abstract presentations.

Gustavo Genta, Suspended Universe, tied metal, 2009
Mythical Scenographies
Work from Salamandra Studios
Curated by Alfredo Torres

April 9 – May 9, 2010

Opening Reception: April 9, 7-9pm
Artists Talk: April 11, 5pm

Mythical Scenographies brings together work by Uruguyan artists Lizzy Magariños, Gustavo Genta, Rogelio Osorio and Roberto Piriz. While producing work in vastly different styles and mediums, these four artists have found inspiration, friendship and a shared vision of creativity through Salamandra Studios, their shared space in Montevideo, Uruguay. This exhibition of their work highlights the distinctive style and practice of each individual artist, while emphasizing the importance of sets, series and seriality in the group’s otherwise divergent artistic practices.

The Rest of His Family in the Living Room on the Other Side of the World, Gold and silver pen, gold gelly roll pen, silver leafing, and acrylic jewels, 22” x 32” x 1/8”
Born Too Late
Khánh H. Lê
Curated by Lea-Ann Bigelow

February 26 – April 4, 2010

Opening Reception: February 26, 7-9 pm
Artists Talk: Sunday, April 4 at 3 pm

Twenty years after fleeing his native Vietnam, Khánh Lê is in ardent pursuit of his own legend. On a stubborn quest to decode the cultural patterns of the America he now inhabits and confront the mythologies which cling to the fast-changing land he left behind, Lê raids visual archives both familial and public. The result of the artist’s systematic scouring of this historical inventory Arresting photogravure etchings that betray the mechanics of propaganda. Swarovski-studded collages that obscure so as to reveal. Ethnographic revelations fueled by an exile’s yearning to – somewhere – belong.

Born in 1981 in Mỹ Tho, Vietnam, Khánh Lê received an M.F.A. from Syracuse University in 2008 and is currently Artist-in-Residence at the Children’s Studio School. In 2009, he received a Small Projects Grant from the DC Commision on the Arts and Humanities. This show will mark the first exhibition of Lê’s prints and drawings in the Washington DC area.

Dog Walk, acrylic and oil on panel, 2009
Memory Meets Imagination Halfway
Adam de Boer
Curated by Laura Roulet

January 15- February 21, 2010

Opening Reception: January 15, 7-9 pm
Conversation with the Artist: February 21, 5 pm

Themes of social ritual and emerging sexuality are set against the luminous landscapes of Southern California and Mallorca, Spain in Adam de Boer’s new series of narrative paintings,Memory Meets Imagination Halfway. Evoking Vladimir Nabokov as psychological literary muse, de Boer also engages the art historical influences of Francisco Goya, Balthus and Eric Fischl.

Sceptor, Mixed Media, 2008
Pat Goslee: Flow
Mixed media works by Pat Goslee

November 21, 2009 – January 4, 2010

Opening Reception: November 21, 7-9 pm

“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.

Collateral Damage, Bleach, color pencil, acrylic on paper, 22” x 30”, 2007
Suspicious Activities
Aziza Claudia Gibson-Hunter
Curated by Michael Platt

October 17 – November 16, 2009

Opening Reception: October 17, 7-9 pm

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.

Kathryn McDonnell, Hemera, oil on canvas, 54”x76”. 2009
Findings
Curated by Lea-Ann Bigelow and Blair Murphy

October 16 – November 15, 2009

Artists Talk: November 8, 3 pm

Featuring work by Deborah Carroll Anzinger, Peter Gordon, Michael Matason, Lisa McCarty, Kathryn McDonnell, Karen Joan Topping and Jenny Walton

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 see Findings, 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, FINDINGS brings 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.

Kate Carrk, Felt Coils, Hand-cut, hand-sewn, felt on plywood backing, 2007, 3 x 28 x 1
Poetics of Material
Work by Kate Carr, David D’Orio and Lisa Hill
Curator: Landria Shack
Curatorial Mentor: Laura Roulet

September 11 – October 11, 2009

Opening Reception: September 11, 7-9 pm

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.


The Twelfth Man
Patrick McDonough and Kenny George

June 12 – July 12, 2009

Opening Reception: June 12, 7-9 pm
Gallery Talk: July 12, 5-7 pm

In the game of American football eleven players take the field. For those familiar with football colloquialisms, the phrase The Twelfth Man refers to the collectivity of the crowd and the fans’ emotional investment in the action. In the context of this art exhibition, the title The Twelfth Man carries 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 recreational outlet 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 Man marks 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 identifies the real salience of George and McDonough’s art and the tropes displayed within The Twelfth Man.

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.


Yesterday’s Tomorrow
Ellington Robinson
Curated by Billy Colbert
Essay by Jefferson Pinder

March 27 – May 3, 2009

Opening Reception: March 27, 7-9 pm
Artist Talk: May 3, 5 pm

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 past is present is what comes to mind when I see the works of Ellington Robinson. Yesterdays Tomorrow represents the Essence of Ellington. In this body of work he explores topics that are close and dear to him — music, civil rights and the necessity of a positive environment. He reconstructs the urban decay of his youth by using elements from that same environment, thus allowing the viewer to harken back to Washington, D.C. during the mid 1980’s. The pieces are a snapshot of where a young man watches jazz hand the baton to hip-hop.” — Billy Colbert

Gretchen Schermerhorn, Vertebrae, handmade paper, bamboo, and wax linen thread, 22″ x 6″ x 5″, 2007
Genetic Drift
Gretchen Schermerhorn
Curated by Anita Walsh

February 13 – March 22, 2009

Opening Reception: February 13, 7-9 pm

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 the accumulation 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 or evolve 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.


Broad Street Pilgrimage, Richmond, VA
David Hartwell
Curated by Bridget Sue Lambert

January 9 – February 8, 2009

Opening Reception: January 9, 7-9 pm

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, VA presents 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.”

Anhedonia

Will Schneider-White
Curated by Sarah Tanguy

September 12 – October 12, 2008

Opening Reception: Friday, September 12, 7-9pm

Two upcoming art exhibitions celebrate the life and legacy of late arts patron Herb White. The
Washington Arts Museum presents Herb White: A Taste for Art, an exhibition of work from White’s collection.
Meanwhile, DC Arts Center presents its 2008 Herb’s Choice show,Anhedonia: Recent Work by Will Schneider-White. While the show at WAM highlights White’s love of art and his collection of both local and national artists, Herb’s Choice 2008 continutes DCAC’s annual tradition of allowing Herb to curate, conceptualize or otherwise inspire one show in the gallery every year.

White, who passed away on June 8, 2007, was a tireless supporter of the arts in DC and surrounding areas. White made a name for himself both in DC’s real estate maket and through his two popular restaurants, both called Herb’s, near Dupont Circle. He staged countless benefits for theaters, ballet troupes and writers’ groups at his restaurants, while serving on the boards of a wide variety of arts organizations. White founded the DC Arts Center in a building he owned in Adams Morgan, charging an annual rent of $1. Over those years he was instrumental in making sure that there was a place in DC for new, emerging, off-beat and adventurous artists to show their work and develop their craft. Without his vision and support, DC would not have the vibrant visual, literary and performing arts communities it enjoys today.


Kid Mutiny
curated by Ellen Tani
curatorial project mentor: J.W Mahoney

June 13 – July 13, 2008

Toy Punks Film screening: 5:30pm, July 13
Artist Talk: 7:00pm, July 13

Kid Mutiny goes out with a bang! Come by DC Arts Center this Sunday for a film screening, artist talk and closing reception for the exhibition Kid Mutiny.

Anne Benolken, Detail Kali Tries to Derail Her Train of Thoughts, inkjet print, 12.5″ x 16″, 2007
The Apotheosis of Kali
Anne Benolken
curated by Carolyn Reece-Tomlin

May 16 – June 8, 2008

Opening Reception: Friday, May 16, 7 – 9 pm

Anne Benolken’s first solo exhibition of photographs is inspired by her artist book “The Apotheosis of Kali.” Worlds collide in Benolken’s boxes, dollhouses and photographs, the fruits of a career-long exploration into how culture intersects with emotion and intellect. Hindu philosophy meets B-movie sci-fi horror backdrops and toy store gizmos, creating a new narrative where we are allowed to peer in on the artist-made figurines of the domesticated goddess Kali as she contemplates the forces of creation and destruction that she holds within her power. Thought-provoking, occasionally humorous, always poignant captions draw us further into Kali’s gray, Peyton Place-esque habitat. It is a world punctuated by the saturated colors of dime store novelties and religious icons that elevates Benolken’s spot-on observations of human nature to a culture-crossing miniature epic for the here and now.

DCAC’s Sparkplug
Learn-a-palooza
Jenny Walton, Karen Joan Topping, Mark Planisek, Michael Matason, Kathryn McDonnell, Lisa McCarty, Peter Gordon, Deborah Carroll-Anzinger
Curated by Lea-Ann Bigelow

May 2 – May 11, 2008

Opening Reception: May 2, 7 – 9pm

Learn-a-palooza with DCAC’s Sparkplug: May 10, 3 – 6pm

DC Arts Center’s resident collective Sparkplug launches its first exhibition as part of an
ongoing pursuit of adventures beyond the commercial gallery system. Sparkplug is a
gathering of a dozen or so Washington, DC metro area emerging artists, curators and
writers that meet once a month to discuss their work, explore common concerns and
ideas, grow their community, and dream up creative engagements both in DC and
around the globe.

Learnapalooza DC is a community organized event happening on Saturday, May 10.
Businesses, homes, and community centers in Adams Morgan, U St, Dupont, and
Columbia Heights will open their doors to hold short “classes” on every topic under the sun. DCAC’s resident collective Sparkplug hosts three classes:

Artist Materials 101: 2:30 PM to 3:00 PM taught by artist, Jenny Walton

Stretching Your Own Canvas: 3:30 PM to 4:00 PM taught by artist, Peter Gordon

Framing Tips: 4:30 PM to 5:00 PM taught by artist and museum preparator, Mark
Planisek


Ipso Facto
Jerome Spinner
curated by Jefferson Pinder, Karen Joan Topping and B Stanley

March 28 – April 27, 2008

Opening Reception: March 28, 7-9 pm

Painting over the anonymous with the obvious is the dialogue Jerome Spinner is entering into with anyone that looks at his work. To answer your question before you ask it; to exert a kind of meaningful control over what you should consider is important. Stenciling the title, media, size and year in block letters onto art works he gets at flea markets, yard sales and thrift shops the label becomes the work. It seems a blatant and simple critique of the relationship most viewers have with a work of art or artifact –the six seconds it takes to read the label. Except it’s not that simple.

Astral Bodies
Lisa McCarty
Curated by J.W. Mahoney
Assisted by Ellen Tani

February 22 – March 23, 2008

Opening Reception: Friday, February 22, 7-9pm

 

 

Come From Heaven, oil on canvas, 2007, 54 ” X 54 “
Matthew Langley
Paintings + Paperworks
curated by J.W. Mahoney

January 18 – February 17, 2008

Opening Reception: Friday, January 18, 7-9pm

In his first solo show at District of Columbia Arts Center, Matthew Langley is showing paintings and paperworks that explore multiple mediums but ultimately investigate an approach to painting from divergent strategies – one of building – the other of reducing. This process-based approach, combined with traditional easel painting, allows Mr. Langley to develop works that are multifaceted, while continuing to advance a reductive approach.

The New Future
Urban Scout, Jane Doskow, Jo Wonder, Benjamin Edwards
Curated by Kristina Bilonick

December 14 – January 14

Opening Reception: Friday, December 14, 7-9pm

In the 50’s and 60s projections of the future ran rampant. TV shows like the Jetsons showed a civilization with conveyor-belt sidewalks, automated houses and robotic maids, Sci-Fi authors like Arthur C. Clarke and Ray Bradbury wove tales of space travel and new colonies on Mars. Fashion and architecture shone with metallics and repeated boomerang shapes.
Fast forward 50 years, and things are a little different than expected. There are no moving
sidewalks, and we’re using the same space rockets that launched 50 years ago.
The artists in this show bring you a ‘new future’- not as shiny and new as the ‘old future’ but not dull either. Together, they present a mash-up of the past, present and future- leaving the viewer with ideas of what the next 50 years may have in store.

The Blind Spot, 2006, gouache on paper, 45 x 35”
Sloganeers
curated by Liz Flyntz
curatorial project mentor: Suzan Shown Harjo

November 9, 2007 – December 9, 2008

Opening Reception November 9 7-9 pm

featuring: Larry Krone, Ginger Brooks Takahashi, Wendy Osher, Julia Dzwonkoski and Kye Potter, Evan Greenfield, Liz Rywelski and Lou Laurita

slo·gan·eer (slg-nîr)
n. A person who invents or uses slogans.
An exhibition of artists exploring the visual engineering of language: text that acts like image, image that encompasses text: containing the trigger for a broad host of engineered associations.

Herb’s Choice
Skyscapes
Manon Cleary
Curated by Lee-Ann Bigelow

October 12 – November 4

Opening Reception: Friday, October 12, 7-9pm

Manon Catherine Cleary – by any earthly measure – is a luminary among Washington DC
artists. Globally exhibited and collected, Cleary has enjoyed a forty-year career as an artist and teacher, and is principally acclaimed for her virtuosic and conceptually provocative enlistment of oil paint and graphite to photo-realist ends. It is with great honor, then, that DC Arts Center will showcase the artist’s very newest “skyscapes” in its gallery during the month of October – works rendered and mounted in remembrance of Cleary’s dear friend and DCAC founder and patron Herb White, in whose company she spent countless contented hours “chasing clouds.

Dos Pestañeos presents
Every Last Day
Ben Fain (Miami), Matthew Farrell (NYC), Vivienne Griffin (Dublin), Hope Hilton (Atlanta), Leigh Horowitz (NYC), Scott Lawrence (Atlanta), Vanessa Mayoraz (Geneva), David Prince (Los Angeles), Andrew Ross (Chicago), Skote Collective (Atlanta) and Alex White with Lori Scacco (NYC).

September 14 – October 7, 2007

Opening Reception: Friday, September 14, 7-9pm

 

Schedule of Events:

September 14: Hope Hilton leads a 20-minute walk in complete silence @ 6PM as part of performances happening at the same time all over the world; in conjunction with the Conflux Festival (conflux.org, 21citiesatonceperformed.info)

September 14: Opening Reception, 7-9pm

September 16: Gallery Talk w/ Dos Pestañeos Collective, 7:30PM

September 30: Gallery Talk w/ Skote Collective, 7:30PM

October 7: I See D.C.: Bridget Donahue, Kate McNamara and Hope Hilton (Brooklyn) discuss Washington D.C. and what they see happening, with a reception + book release following the discussion, 7:30PM

 

Dos Pestañeos has no idea where you came from but wants to show you something.

With its heart contemplating the fertile terrain of the in-between, Dos Pestañeos presents Every Last Day, an exploration into the potential of transitional reality. Perceiving the threshold as an intermediate space charged with possibility and quite possibly haunted, the collective has shaped an exhibition of magic, ignorance, illusion, uncertainty and pleasure. Without regard for classifications or dichotomies, the artists have instead worked within the “excluded middle”, the wish being to give breath to the complex, vital state of flux- a realm of the sacred, the taboo, and the mysterious. The shaman mediated between humans and gods, ghosts existed between life and death, werewolves between man and animal: this is the anti-structure of limbo, the capacity of every last day.

In this exhibition everywhere is the entrance and formality becomes a fiction. Unforeseen relationships emerge as the narrative continues to open. By physically pushing the boundaries of each artist’s work into the next, assumptions and architectures shift, perpetuating a community that shares and speaks together.

Included are works in a variety of media and methods: Andrew Ross includes anthropological scenes constructed from simple office paper. Leigh Horowitz creates drawings using a personal hieroglyphic system of charting dreams, while Vivienne Griffin’s text works remind us that powerful moments can be realized with very small statements.

Stay with us.

Dos Pestañeos is an artist collective formed in Atlanta, Georgia in 2003 that curates and collaborates with local, national, and international artists in self-produced exhibitions. www.dospestaneos.com

High resolution images available upon request.

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
shopping.
— 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.

Ian and Jan: The Undiscovered Duo
Jeffrey Cudlin and Meg MItchell
Exhibition advisors: Rex Weil & Central Intelligence Art

May 11 – June 3, 2007

Opening reception: Friday, May 11, 7-9pm

This spring, many local museums and galleries will celebrate the Washington Color School , a group of abstract painters who, in the early 1960s, briefly made D.C. the center of the visual arts universe.

Local artists Jeffry Cudlin and Meg Mitchell won’t be playing along. At DCAC, the two will stage an art historical intervention, weaving an alternative history for Washington art.

Cudlin and Mitchell will mount a retrospective for their alter egos, Ian and Jan—a fictitious husband-and-wife performance art duo. According to the exhibition’s premise, Ian and Jan led the Washington Body School , a group that, in the late ‘60s and ‘70s, exhibited their body art alongside the work of prominent Washington abstract painters.

Ian and Jan: The Washington Body School will provide humorous commentary on Washington ’s cultural legacy, on revisionist art historical agendas, and on gender bias and power politics in the arts. The show will include photographs, drawings, props, and videos of the couple in action.

The centerpiece of the show will be a video featuring interviews with D.C. gallerists, collectors, and historians, all recalling the rich, heretofore unexplored history of these two obscure performance artists. Participants in the video include: Jonathan Binstock, Curator for Contemporary Art at the Corcoran Gallery of Art; Sam Gilliam, celebrated artist; J. W. Mahoney, contributing writer and editor for Art in America; Joshua Shannon, Professor of Contemporary Art History at The University of Maryland, College Park; Andrea Pollan, Director of Curator’s Office; Janis Goodman, critic for WETA’s Around Town and instructor of art at the Corcoran College of Art and Design; and Tyler Green, blogger for Arts Journal and contributing writer for Fortune magazine and The Wall Street Journal.

Though the show exists as a parody, it also investigates the seductive power of master narratives, even discredited or demonstrably false ones. Ian and Jan may make you laugh, but they will also change the way you think about the business of cultural production—and Washington , D.C. — forever.

 

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:
http://www.washingtonpost.com/wpdyn/content/article/2007/04/12/AR2007041201748.html

*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 .

The Jolly Cowboy
Laurence Arcadias, Julie Benoit, Zoe Charlton, Billy Colbert, Rob Sparrow Jones,
Charman Lewis, Lump Lipshitz, Jack Livingston, Gabriel (Baby) Martinez, Lauren Schott, Rene Trevino, Elena Volkova
Curated by Cara Ober

March 16 – April 8, 2007

Opening Reception: Friday, March 16, 7-9pm

If the taming of the Wild West is our nation’s legend, the central character is the cowboy.
More myth than history, the cowboy’s identity varies wildly. From outlaw to hero, from
cattle rustler to gunslinger, from drunkard to sheriff, his mystery, his bravery, and his
autonomy remain constant. Visual artists from different nationalities, backgrounds, ages,
and sensibilities create a complex and contradictory image of this character and with it,
an exploration of American identity and individualism.

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.

In a Land Far, Far Away…
Brook Rogers, Laurel Hausler, John Lancaster, Gregory Ferrand

January 19 – February 11, 2007

Opening Reception: Friday, January 19, 7-9pm

The four artists in this show create characters and landscapes that tell stories both
exotic and mundane. The show brings up questions about illustration as fine art and the
psychological and emotional stories artworks can tell.

Obsession
Amy Lin
Curated by Anne Collins Goodyear, assistant curator of prints+drawings at the National Portrait Gallery

December 15 – January 14, 2007

Opening Reception: Friday, December 15, 7-9pm

With a soaring blue mass anchored above a small pink enclosure, “Separate Worlds” reads almost like a question mark. The comparison is apt where Amy Lin’s work is concerned. Enveloped in the artist’s meticulously rendered drawings is an implicit question: what are they? It is precisely in their resistance to easy categorization that the works reach out to spectators.

Lin’s work, with an exquisite calligraphic quality of interweaving cables, is composed of tiny spheres, rendered painstakingly, at varying scales, by the artist. Yet the work does not read as pure abstraction, concerned only with formal properties of color and composition. Instead, a careful examination of these lively surfaces reveals fascinating intersections between the minute units themselves—microbes of a sort— some of which seem to cohere with magnetic pull while others seem to resist one another. Through her use of pattern and repetition Lin has put into play dynamics that seem almost human in nature.

If the artist’s intensity, or “obsession,” reveals itself graphically, the work also brings about a deep sense of contemplative satisfaction. For through an act of meditative creation, Lin has constructed pictorial environments that produce a sense of immense space. Here the viewer can become lost in the delicate task of untangling skeins of threaded dots that tease the mind. – Anne Colins Goodyear

Exchange: Richmond @ DC
Twisted Roots
Sanford Biggers, S. Ross Browne, Caryl Burtner, Sonya Clark, Taliaferro Logan, Ayo Ngozi, and Heide Trepanier
Curated by Tosha Grantham
Presented by DCAC & WPA\C

November 10 – December 10, 2006

Opening Reception: November 10, 7-9pm

Curator Tosha Grantham selects Richmond artists to exhibit at DCAC. Check out the Washington Post review:
http://www.washingtonpost.com/wp-dyn/content/article/2006/11/09/AR2006110900531.html

Herb’s Choice
Born Again Dada!
JS Adams, Ian Chase, David Hartwell, Linda Hesh, Brendan Howell, Mariah Josephy, Carolina Mayorga, Aaron Oldenburg, Betsy Packard, Anne Stillwood, Paul Thomas and Charles Westerman
Curated and juried by J.W. Mahoney

October 13 – November 5, 2006

Opening Reception: Friday, October 13, 7-9pm

DCAC put out an open call for Dada artists, poets and performers. This show will
feature artists selected by curator, J.W. Mahoney and will also include a variety of
performances and readings throughout the show’s duration. A gluttonous $250 prize will
be awarded to the most ‘dada’ submission from the open call.

Space of Change
Martin Brief, Amy Kaplan, Justin Rabideau, Wendy Weiss & Jay Kreimer
Curated by Claire Huschle and Margaret Boozer

September 8 – October 8, 2006

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

Space of Change is an exhibition about “liminal spaces”…that pocket of time during which things/people transform from what they were into what they are going to become.

The exhibition, curated by Claire Huschle and Margaret Boozer with help from Anne Surak, will introduce the work of five artists: Amy Kaplan, Martin Brief, Justin Rabideau, and the collaborative team of Wendy Weiss and Jay Kreimer.

Kaplan explores issues of trust, faith and illusion with her mummified stuffed animals, Brief takes a literal look at reading between the lines, Rabideau uses his native Georgia clay to explore the physical extensions of his thoughts and actions, while Weiss and Kreimer create a motion-triggered sound and fiber installation with social and political underpinnings.

In very distinct and disparate ways, each artist addresses the theme of liminality, creating an exhibition rich in the poetry of their connections and contrasts. A brief talk with artists and curators will accompany the opening reception. For more info, artist bios and images see
http://www.margaretboozer.com/extras4.html

THE DOCUMENT
Bat, Brandon Hill, Alex Meiners, Peter Chang

August 18- September 3

Opening Reception: Friday August 18  7-9pm

The Document is an exhibit of the documentation of the artists’ use of Breakdancing as a means to move paint over canvas. The idea was three-fold: first creating two-dimentional art pieces as a result of a performance; second documenting the entire process by video; and third, photographing every step and action taken during the breakdancing sessions. The Document is a collaborative visual, musical, and physical exploration of the B-boy/hip-hop culture.

Visit:  www.thedocumentshow.com

Home Free
Kate Abercrombie, Stefan Abrams, Doina Adam, Amy Adams, Anita Allyn, Corey Antis, Leah Bailis, Gabriel Boyce, Robert Chaney, Micah Danges, Sarah Daub, Nadia Hironaka, M. Ho, Charles Hobbs, Joseph Hu, Maximillian Lawrence, John Lorenzini, Roxana Perez-Mendez, Matthew Suib and Eva Wylie

June 30 – July 23, 2006

Opening Reception: Friday, June 30, 7-9pm

Homefree, a group exhibition of the artist members of Vox Populi, is a nod to our recent agoraphobia (we haven’t traveled in a while) and also, an attempt to put a positive spin on our impending homelessness (our building is being torn down sometime this year). Expect the unexpected as Vox members pack up their paintings, videos, sculpture, photos, prints, and concepts, and in our rented minivan careen down 95 to show DC how we do it in Philly and make some new friends.

Founded in 1988, Vox Populi is a nonprofit artist collective that supports the work of emerging artists with monthly exhibitions, gallery talks, performances and lectures. For nearly 20 years, Vox has occupied a unique role in the artistic and cultural community in Philadelphia by bringing our audience cutting-edge contemporary art and a diverse range of
programming, while at the same time providing a supportive environment where young artists can feel free to experiment, take risks and gain valuable experience to help them lauch their professional careers.
Come visit! www.voxpopuligallery.org

Subdivisions
Sandra Jeknavorian, Andrew Prayzner, Matthew Clay-Robison and Joseph Segal

May 26 – June 25, 2006

Opening Reception: Friday, May 26, 7-9pm

Images of suburbia are prevalent in contemporary visual culture. At their
best, the suburbs are portrayed as a safe and peaceful utopia, full of happy
and healthy families, and free of crime; at worst, conformist and lacking in
diversity and individual expression. The suburbs have come to represent an
ideal, the fulfillment of the American dream of land ownership, a house, two
cars, and 2.5 children. This American ideal has been the subject of constant
scrutiny. This exhibition seeks to explore suburbia as both the birthplace of,
and an inspiration to, artists, portraying the love/hate relationship that those
who grew up in the suburbs often share. – Matthew Best

Don’t Bring No Bad News
Michael Platt, Harlee Little, Kasha Stewart + Kim Johnson
Curated by Barbara Blanco

April 28 – May 21, 2006

Throughout history the visual narrative of the African American experience has focused on negative and derogatory imagery.  Don’t Bring No Bad News, the latest exhibition at the District of Columbia Arts Center (DCAC), attempts to defy this narrative using photographic accounts that reveal the spirit, hope, and joy that shine through the darkness of the popular portrayal of the African American.

Curated by Barbara Blanco, Don’t Bring No Bad News gathers the work of four local artists who collectively attempt to tell the story of the black experience in Washington, D.C. using strikingly vivid photography.  Harlee Little, Kim Johnson, Michael Platt, and Kasha Stewart, all members of The Black Artists of DC, will be featured in the exhibition.

Blanco is a fine art photographer based in Washington, D.C. who has devoted her self-taught skills to exhibits for The Graham Collection, The Black Artists of D.C., four one-woman shows, and over twenty premier gallery exhibits in the Washington, D.C. and Baltimore metro areas.  Blanco has also served as a member of the Art Selection Committee at the Anne Arundel Community College, as well as a board member for the Urban Artists Coalition, and organization that partners professional artists with under-privileged youth.

The exhibit entitled, “Don’t Bring No Bad News”, will focus on positive imagery that reflects the African American experience. It captures our spirit, our hopes, our joy, our laughter, our faith and the inspiration we encounter everyday in our lives.

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

DCAC’s Curatorial Initiative
Hystoria
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

Time Markers
Bruce McKaig
Curated by art critic Andy Grunberg

January 27-February 26, 2006

Opening Reception: Friday, January 27, 7-9pm
In-gallery events: February 11,18 and 25 at 2:30pm

A project that simultaneously makes a single cumulative pinhole photograph and a digital time-lapse animation of scenes from the arts, science, business, family and social rituals
Since January 2005, Bruce McKaig has been photographing people in their places of
work, simultaneously using a pinhole cameramade froma paint can and a digital camera to capture time-lapse stills at regular intervals. The project is called Time Markers anduses both crude pinholephotography and digital technologies to record and display events from science, the arts, nature, business,social and family rituals. The materialresults from Time Markers include the single cumulative pinhole exposure, large digital contactsheets of the still
images, and a DVD where allimages have been clipped together to produce a flipbook-like animation. This projectexamines activities that surround us but that
are rarely observed: a bookkeeper, a construction site, a business meeting, a family
reunion, a cake decorator, a Rock and Roll band rehearsal, waiters at a sidewalk cafe, an archivist, people watching the news, a photography class, a paper mache artist, an exotic dancer, a frame shop, tourists in DC, a pianist rehearsing, me hand coloring photographs.
The DCAC exhibition will display monitors for the DVD animations, large prints of the
time-lapse images, and light boxes with transparentpinhole images. In addition, events will be scheduled and photographed in the gallery during the exhibition to allow the public to see the paint can and digital cameras in action.

Events will take place in the DCAC gallery and will demonstrate the pinhole camera technique.
Saturday Feb 11th at 2:30- Paul Begley, caterer will make hors d’ouevres
Saturday Feb 18th at 2:30- Caron Anton, CPA, will do bookkeeping
Saturday Feb 25th at 2:30- Kerry Keeler, artist, will do bookbinding