Saturday, June 3, 2006 - Sunday, June 4, 2006
Location: Dupont Circle/Kalorama
Explore Dupont Circle - the neighborhood at the heart of Washington, DC's Gilded Age and at the historic beginning of Embassy Row - where original turn-of-the-century buildings are home to a wide range of museums, galleries, embassies, and an eclectic assortment of restaurants and businesses.
This vibrant community celebrates its rich and unique history with a neighborhood-wide scavenger hunt, sheep shearing, an antique car rally, and craft demonstrations along with many other festive events. A variety of special museum exhibitions, live music, food, and activities for adults and children are offered throughout the weekend.
Anderson House,Fondo del Sol Visual Arts Center, The Mary McLeod Bethune Council House National Historic Site, Meridian International Center, The Phillips Collection, The Textile Museum, and Woodrow Wilson House will be open free of charge with free activities for all ages.
Dupont-Kalorama Museums Consortium
Wednesday, May 31, 2006
Monday, May 29, 2006
Protect C&O Canal NHPark from private development - Send a letter
Act now, and spread the word.
The National Park Service (NPS) has released an Environmental Assessment (EA) on the Georgetown University (GU) boathouse for public comment. The boathouse is proposed for a location within the C&O Canal National Historical Park at the narrow, busy, fragile gateway to one of the crown jewels of our entire National Park System. The site is a wooded, tidal floodplain containing wetlands, at the entrance to the Capital Crescent Trail (CCT) and the Potomac Gorge, and near the historic Canal towpath/levee. No construction should be allowed at that location, much less an enormous GU boathouse -- almost the length of a football field -- for one group of collegiate rowers.
Please help protect the Park from this misguided proposal by sending a letter to NPS expressing your opposition to the plan. Request a comprehensive study and full Environmental Impact Statement of the entire waterfront that will take a truly "hard look" at alternative locations outside the Park for three new boathouses proposed for the area.
Instead of building within the Park, GU should build outside the Park on more accessible and degraded land (such as land at 34th St. and K/Water Sts., next to the proposed site for another private boathouse for George Washington University). A location outside the Park for the $15-17 million GU facility would have many environmental, technical, safety and practical advantages, while protecting the wild and scenic C&O Park for the enjoyment of everyone
Two sample letters and a fact sheet about the proposal are available at www.savethecanal.org -- website for Defenders of Potomac River Parkland, an alliance of 21 civic, conservation and recreation organizations and thousands of individuals opposed to the current plan. (Deadline for submitting comments on the EA is June 15.)
Thanks for your interest, and please spread the word!
Sally Strain
DC Resident and
DC Coordinator, Defenders of Potomac River Parkland
(202) 363-4546
The National Park Service (NPS) has released an Environmental Assessment (EA) on the Georgetown University (GU) boathouse for public comment. The boathouse is proposed for a location within the C&O Canal National Historical Park at the narrow, busy, fragile gateway to one of the crown jewels of our entire National Park System. The site is a wooded, tidal floodplain containing wetlands, at the entrance to the Capital Crescent Trail (CCT) and the Potomac Gorge, and near the historic Canal towpath/levee. No construction should be allowed at that location, much less an enormous GU boathouse -- almost the length of a football field -- for one group of collegiate rowers.
Please help protect the Park from this misguided proposal by sending a letter to NPS expressing your opposition to the plan. Request a comprehensive study and full Environmental Impact Statement of the entire waterfront that will take a truly "hard look" at alternative locations outside the Park for three new boathouses proposed for the area.
Instead of building within the Park, GU should build outside the Park on more accessible and degraded land (such as land at 34th St. and K/Water Sts., next to the proposed site for another private boathouse for George Washington University). A location outside the Park for the $15-17 million GU facility would have many environmental, technical, safety and practical advantages, while protecting the wild and scenic C&O Park for the enjoyment of everyone
Two sample letters and a fact sheet about the proposal are available at www.savethecanal.org -- website for Defenders of Potomac River Parkland, an alliance of 21 civic, conservation and recreation organizations and thousands of individuals opposed to the current plan. (Deadline for submitting comments on the EA is June 15.)
Thanks for your interest, and please spread the word!
Sally Strain
DC Resident and
DC Coordinator, Defenders of Potomac River Parkland
(202) 363-4546
At 901 E Street
May 23-June 28, 2006
Jodi & David Hubbard
901 E Street NW
Washington, DC
Opening Reception : Wednesday
June 28th, 5 to 8pm
If you are in Penn Quarter near the MCI Center, walk on over to 901 E Street NW and take a look at Jodi's beautiful paintings on wood and David's metal sculpture. My favorite of David Hubbard's is in the lobby foyer near the elevators. His tribute to music is a stunning sparking piece which you can almost hear the jazz. It's worth a visit to see these two artists work.
For information contact, Zenith Gallery
202.783.2963
art@zenithgallery.com
LAST DAY FOR PASS GALLERY - PASSTENSE!!!
If you have a chance, go see this survey show of Washington artists on Tuesday, May 30 from 1-5pm. It's the last day of the show. Don't miss it. Pass Gallery entrance is in the alley off 17th St. NW between S & Swann Sts. Just walk halfway down the alley and you're there. 
May 5-30, 2005.
GALLERY HOURS: Tuesdays and Saturdays 1-5 PM and by appointment. LOCATED: at the rear 1617 S Street N.W. Washington, D.C. 20009. For more infomation, call Richard Siegman (202) 745.0796.
May 5-30, 2005. GALLERY HOURS: Tuesdays and Saturdays 1-5 PM and by appointment. LOCATED: at the rear 1617 S Street N.W. Washington, D.C. 20009. For more infomation, call Richard Siegman (202) 745.0796.
Friday, May 26, 2006
Direction
Cloudscapes have always held a fascination for me. When I look at cloud movement, I often see the reflection of the patterns of the invisible energies of our physical world. Sometimes whimsical shapes float and engage me. They are there for the artists eye to conceive and translate into two dimensional passages of visual poetry.Come visit with me at the Zenith Gallery tomorrow, Sat., May 27 and Sat., June 3, from 1:00pm - 3:00pm and I'll walk you through my "Ellipsis" Exhibition of abstract paintings - poetry in motion through color. www.zenithgallery.com
If You're An Artist (or not), Don't Miss This Learning Expo
A one time chance to see art product manufacturer's under one roof and test new art products!!!! Sign Up Now! for next weekend. New Learning & Product Expo: Art! to be held in the Washington, DC, Metropolitan Area.
JUNE 2-4, 2006
MARRIOTT INN & CONFERENCE CENTER
University of Maryland University College
Adelphi, Maryland.
Building on the success of their Burbank 2005 event, Fishback/Gruen, LLCis pleased to announce an east coast Learning & Product Expo: Art! to takeplace June 2-4, 2006 in the Washington, DC metropolitan area.Learning & Product Expo: Art! is a consumer event where artists can choosefrom a program of 200 hands-on-workshops, lectures and demonstrationstaught in all mediums, and visit an exhibit hall of art material manufacturerswhere they can buy art supplies, see free demonstrations, and experiment with new materials.
Gail Fishback, a principle of Fishback/Gruen, LLC stated “We’re excited tobring this event to the east coast where artists of all levels–professionals, hobbyists, teachers and students can come together and share and learn every medium and technique imaginable. Exhibitors representing top brands like Winsor & Newton, Daler Rowney & Fredrix will conduct demonstrations and answer questions. Getting this magnitude of manufacturers under one roof is incredible and we expect a huge turnout of artists.”
The venue for the Washington, DC metropolitan area show is the Marriott Inn & Conference Center at the University of Maryland University College in Adelphi, Maryland. The center’s handsome Georgian buildings are home to one of Maryland’s finest art collections, an environment that truly inspires creativity.
The retailer partner for the event is Plaza Artist Materials, a chain with 8 area locations. The magazine sponsors are The Artist’s Magazine, Watercolor Magic, and The Pastel Journal. For more information about the event, visit www.learningproductexpo.com http://www.learningproductexpo.com
.
JUNE 2-4, 2006
MARRIOTT INN & CONFERENCE CENTER
University of Maryland University College
Adelphi, Maryland.
Building on the success of their Burbank 2005 event, Fishback/Gruen, LLCis pleased to announce an east coast Learning & Product Expo: Art! to takeplace June 2-4, 2006 in the Washington, DC metropolitan area.Learning & Product Expo: Art! is a consumer event where artists can choosefrom a program of 200 hands-on-workshops, lectures and demonstrationstaught in all mediums, and visit an exhibit hall of art material manufacturerswhere they can buy art supplies, see free demonstrations, and experiment with new materials.
Gail Fishback, a principle of Fishback/Gruen, LLC stated “We’re excited tobring this event to the east coast where artists of all levels–professionals, hobbyists, teachers and students can come together and share and learn every medium and technique imaginable. Exhibitors representing top brands like Winsor & Newton, Daler Rowney & Fredrix will conduct demonstrations and answer questions. Getting this magnitude of manufacturers under one roof is incredible and we expect a huge turnout of artists.”
The venue for the Washington, DC metropolitan area show is the Marriott Inn & Conference Center at the University of Maryland University College in Adelphi, Maryland. The center’s handsome Georgian buildings are home to one of Maryland’s finest art collections, an environment that truly inspires creativity.
The retailer partner for the event is Plaza Artist Materials, a chain with 8 area locations. The magazine sponsors are The Artist’s Magazine, Watercolor Magic, and The Pastel Journal. For more information about the event, visit www.learningproductexpo.com http://www.learningproductexpo.com
.
Wednesday, May 24, 2006
"The Quest for Color: A Painter's Palette"
The Grammar of Color Lecture:
Gail F. Spiegel, May 25, 2006, at 2:30 p.m.,
West Building Lecture Hall.
National Gallery of Art
Washington, DC
Gail Spiegel has a unique and refreshing approach to color mixing that provides outstanding lessons for artists working with both traditional and modern pigments. Working with strong, clean color is a key to fully developing the working properties of pigments. A better understanding of the color vocabulary allows an artist to explore new mixing capabilities. This lecture will be accompanied by a mixing demonstration.
The National Gallery of Art, located on the National Mall between Third and Seventh Streets at Constitution Avenue, NW, is open Monday through Saturday from 10:00 a.m. to 5:00 p.m. and Sunday from 11:00 a.m. to 6:00 p.m.
----------------------------------------------------------------
The Grammar of Color
Volume 2. No. 3
A Grand Time Was Had By All
by Michael Skalka
I am always humbled and impressed by the knowledge of the conservators and scientists who are associated with the arts. Professionals in this field are toiling away at building an ever-expanding body of knowledge about how art materials function and age.
I was privileged to attend the conference “Modern Paints Uncovered” sponsored by the Tate Modern, Getty Conservation Institute and the National Gallery of Art, Washington, held in London last week. About 200 people from dozens of countries came together to discuss the mechanical properties of paints and how conservators might approach cleaning them given what we currently know about how they function.
Even though the conference did not specify a particular medium, the focus was predominantly on acrylic paints. Many artists take it for granted that acrylic dispersion paints have been a staple in the vast array of selectable materials for making paintings. While it would be silly and inappropriate to use the emergence of acrylics as a turning point in art so that we would designate art as “BA,” Before Acrylics, and “AA,” After Acrylics, their impact is remarkable nonetheless. Obviously oil painting does not cease after the introduction of acrylics.
Acrylics do not emerge from under a rock, stare inquisitively at the morning sunlight, and trudge out to conquer the world. Like any new product, they are introduced cautiously, testing the market by gauging the reaction in both sales and ideological acceptance. The first proverbial “toe in the water” came with the introduction of acrylic primer. The material “revolution” started with a quarter page ad showing an awkward looking metal container bearing a label that said, “Gesso, A Complete Painting Ground, “ along with bullet points that were mirrored in the text of the advertisement. The ad stated that the gesso was a “synthetic resin emulsion that thins with water, produces paint films that are exceedingly tough and durable, permanently flexible, non-yellowing, insoluble in water, adheres to any non-oily surface, dries in a matter of minutes and may be overpainted rapidly.” The only thing that was missing was the “void where prohibited, taxes and license fees not included and your results may vary,” disclaimers that we hear on many radio advertisements.
That list of selling features for acrylics has not changed much since that advertisement appeared over 49 years ago. Vast improvements and modifications have been made to acrylic paints and grounds since 1957, but the performance points have remained nearly the same. Make no mistake; acrylic resins were not invented for the art materials market. The improvements and changes were done for the commercial paint industry. As lecturers pointed out in the “Modern Paints Uncovered” symposium, synthetic resins came about at the turn of the 20th century. As many synthetic spirit-based paints developed between and after World War II, acrylics similar to what we are familiar with were commercially introduced in 1953 as the binder in house paints. The literature indicates that acrylic artists’ paints were developed, launched and marketed in 1954. It is interesting to note that in my own research, advertisements for acrylics, gesso in particular, did not appear until early 1957. I find it odd that these products were absent from magazines catering to artists for approximately 3 years after being launched. This warrants further investigation.
Returning to the main point is that the working properties of acrylic paints and thus the foundation for marketing these products has remained virtually unaltered for the last 50 years. With skeptics of acrylics casting doubt on the medium, it is interesting to note that the physical attributes of acrylics have not wavered a great deal. They remain true to their original claims.
The one thing that has changed over time is that we have a performance history that is naturally based and a second line of research that is derived from artificial aging and testing. The conference proceeding gave no indication that acrylics were fraught with devastating problems and unanswerable questions. On the contrary, scientist can now characterize and understand this medium with far greater ability than in the past. Solutions to issues about cleaning paintings and establishing long-term care protocols seem to be just a few years away and in plenty of time to preserve the growing body of works painted in acrylics. This conference was just the first round. I am certain that “Modern Paints Uncovered” inspired scientist and conservators to continue working toward mutual understanding of this amazingly complex medium.
Scientists are still unraveling some of the issues related to acrylics. They are electrostatic and attract dust, soften when in a hot environment and become glass like when cooled to low temperatures. However, we have both the knowledge and tools to mitigate the issues that come with acrylics. Just as with oil paints, artists using acrylics must follow some guiding rules. Responsible manufactures provide a wealth of assistance in guiding acrylic artists to create sound and long-lasting paintings that overcome the negative aspects that are linked to all art materials artists can select. We live in a technical world and no matter what media we use, we need to master some principles related to the working properties of art materials.
While the conference did not focus on oil paint, it was stated that they are still part of the definition of “Modern Paints.” We live in a glorious time for making art. We have the choice of many aqueous and oil based media. Each has outstanding working properties and can be exploited to provide artists with the means to create a personal expression.
The trip was very invigorating and the free time visiting The National Gallery, the V&A, a major art manufacture’s and walking on nearly every major street in London gave me lots to ponder. With much to share in future Grammar episodes, we say goodbye to spring and welcome the summer season. Have a safe Memorial Day.
The Grammar of Color
-
If others you know want to receive The Grammar of Color and our lecture announcements, please forward this e-mail to them and instruct them to send me a message requesting to be on the recipient list at:
michael_skalka@excite.com
(Note the separation between first and last name is an underscore not a dash or a blank space)
Gail F. Spiegel, May 25, 2006, at 2:30 p.m.,
West Building Lecture Hall.
National Gallery of Art
Washington, DC
Gail Spiegel has a unique and refreshing approach to color mixing that provides outstanding lessons for artists working with both traditional and modern pigments. Working with strong, clean color is a key to fully developing the working properties of pigments. A better understanding of the color vocabulary allows an artist to explore new mixing capabilities. This lecture will be accompanied by a mixing demonstration.
The National Gallery of Art, located on the National Mall between Third and Seventh Streets at Constitution Avenue, NW, is open Monday through Saturday from 10:00 a.m. to 5:00 p.m. and Sunday from 11:00 a.m. to 6:00 p.m.
----------------------------------------------------------------
The Grammar of Color
Volume 2. No. 3
A Grand Time Was Had By All
by Michael Skalka
I am always humbled and impressed by the knowledge of the conservators and scientists who are associated with the arts. Professionals in this field are toiling away at building an ever-expanding body of knowledge about how art materials function and age.
I was privileged to attend the conference “Modern Paints Uncovered” sponsored by the Tate Modern, Getty Conservation Institute and the National Gallery of Art, Washington, held in London last week. About 200 people from dozens of countries came together to discuss the mechanical properties of paints and how conservators might approach cleaning them given what we currently know about how they function.
Even though the conference did not specify a particular medium, the focus was predominantly on acrylic paints. Many artists take it for granted that acrylic dispersion paints have been a staple in the vast array of selectable materials for making paintings. While it would be silly and inappropriate to use the emergence of acrylics as a turning point in art so that we would designate art as “BA,” Before Acrylics, and “AA,” After Acrylics, their impact is remarkable nonetheless. Obviously oil painting does not cease after the introduction of acrylics.
Acrylics do not emerge from under a rock, stare inquisitively at the morning sunlight, and trudge out to conquer the world. Like any new product, they are introduced cautiously, testing the market by gauging the reaction in both sales and ideological acceptance. The first proverbial “toe in the water” came with the introduction of acrylic primer. The material “revolution” started with a quarter page ad showing an awkward looking metal container bearing a label that said, “Gesso, A Complete Painting Ground, “ along with bullet points that were mirrored in the text of the advertisement. The ad stated that the gesso was a “synthetic resin emulsion that thins with water, produces paint films that are exceedingly tough and durable, permanently flexible, non-yellowing, insoluble in water, adheres to any non-oily surface, dries in a matter of minutes and may be overpainted rapidly.” The only thing that was missing was the “void where prohibited, taxes and license fees not included and your results may vary,” disclaimers that we hear on many radio advertisements.
That list of selling features for acrylics has not changed much since that advertisement appeared over 49 years ago. Vast improvements and modifications have been made to acrylic paints and grounds since 1957, but the performance points have remained nearly the same. Make no mistake; acrylic resins were not invented for the art materials market. The improvements and changes were done for the commercial paint industry. As lecturers pointed out in the “Modern Paints Uncovered” symposium, synthetic resins came about at the turn of the 20th century. As many synthetic spirit-based paints developed between and after World War II, acrylics similar to what we are familiar with were commercially introduced in 1953 as the binder in house paints. The literature indicates that acrylic artists’ paints were developed, launched and marketed in 1954. It is interesting to note that in my own research, advertisements for acrylics, gesso in particular, did not appear until early 1957. I find it odd that these products were absent from magazines catering to artists for approximately 3 years after being launched. This warrants further investigation.
Returning to the main point is that the working properties of acrylic paints and thus the foundation for marketing these products has remained virtually unaltered for the last 50 years. With skeptics of acrylics casting doubt on the medium, it is interesting to note that the physical attributes of acrylics have not wavered a great deal. They remain true to their original claims.
The one thing that has changed over time is that we have a performance history that is naturally based and a second line of research that is derived from artificial aging and testing. The conference proceeding gave no indication that acrylics were fraught with devastating problems and unanswerable questions. On the contrary, scientist can now characterize and understand this medium with far greater ability than in the past. Solutions to issues about cleaning paintings and establishing long-term care protocols seem to be just a few years away and in plenty of time to preserve the growing body of works painted in acrylics. This conference was just the first round. I am certain that “Modern Paints Uncovered” inspired scientist and conservators to continue working toward mutual understanding of this amazingly complex medium.
Scientists are still unraveling some of the issues related to acrylics. They are electrostatic and attract dust, soften when in a hot environment and become glass like when cooled to low temperatures. However, we have both the knowledge and tools to mitigate the issues that come with acrylics. Just as with oil paints, artists using acrylics must follow some guiding rules. Responsible manufactures provide a wealth of assistance in guiding acrylic artists to create sound and long-lasting paintings that overcome the negative aspects that are linked to all art materials artists can select. We live in a technical world and no matter what media we use, we need to master some principles related to the working properties of art materials.
While the conference did not focus on oil paint, it was stated that they are still part of the definition of “Modern Paints.” We live in a glorious time for making art. We have the choice of many aqueous and oil based media. Each has outstanding working properties and can be exploited to provide artists with the means to create a personal expression.
The trip was very invigorating and the free time visiting The National Gallery, the V&A, a major art manufacture’s and walking on nearly every major street in London gave me lots to ponder. With much to share in future Grammar episodes, we say goodbye to spring and welcome the summer season. Have a safe Memorial Day.
The Grammar of Color
-
If others you know want to receive The Grammar of Color and our lecture announcements, please forward this e-mail to them and instruct them to send me a message requesting to be on the recipient list at:
michael_skalka@excite.com
(Note the separation between first and last name is an underscore not a dash or a blank space)
Charbel Ackermann: "The New Geometry" and "Monument2"
Presented by
Irvine Contemporary and Warehouse Gallery :
Friday June 2 – Tuesday July 4
Special Installation at The Warehouse Gallery
1017-21 7th Street NW, Washington, DC
Hours: Thurs-Sat. 1:00-6:00 PM
Opening Reception for the artist:
Friday June 2, 6:00-8:00 at The Gallery at The Warehouse
Artist's talk and afternoon reception:
Saturday, June 3rd, 2:00-4:00 pm also at The Gallery at the Warehouse
In this off-site exhibition, Irvine Contemporary presents the installation work of internationally acclaimed, London- based artist Charbel Ackermann: "The New Geometry" and "Monument2". This exhibition is presented in collaboration with The Gallery at the Warehouse, Washington, DC.
In “The New Geometry”, Ackermann literalizes the "The Axis of Evil" metaphor from the 2002 State of the Union Address, and maps it onto multiple visual representations of the world. Using unaltered maps and satellite photographs, Ackermann re-presents the earth as if configured on this axis through a series of drawings, lithographs, mathematical calculations, and blackboard deductions, all reassembled for a culminating computer-projected presentation. One stunning image presents a straight line as from a 22,344km flight from Havana to Pyongyang, intersecting with Baghdad and Tehran, using satellite images obtained online through Google Earth. A realization of this project was also presented at The Drawing Center in New York (June-July, 2005).
“Monument2” ("Monument to Monuments," or "Monument Squared", created specially for our Washington exhibition, is a stunning mural drawing based on an ancient Roman triumphal arch. Ackermann’s Monument is a unique, interactive drawing: the monument is redrawn from thousands of original barcodes, each encoded with text fragments and Ackermann's own writing. Each barcode is programmed for a text message and is readable with handheld scanners which viewers can use to project texts in the inscription space of the arch. Constructed as a reflection on monuments and the cultural messages they encode for history, Ackermann creates a symbolic trajectory from the SPQR (The Senate and the People of Rome) inscribed on the Arch of Titus to Washington, D.C., the prime location of monuments in the U.S. and a city defined by architectural references to classical Rome.
Ackermann loads his barcodes with the philosophical, the impossible, the poignant, and the preposterous, leaving us delightfully reeling in the overlays of history and the meanings of monuments, and questioning if what we are reading is historical 'truth' or cultural 'fiction'-- or both.
New Limited Edition, Hand-Finished Lithographs for "The New Geometry"
For the Washington, DC exhibition of Ackermann’s “New Geometry”, Irvine Contemporary announces our first published print edition, consisting of Charbel Ackermann’s extraordinary hand-finished, limited edition lithographs. Ackermann has selected four of the “New Geometry” drawings to be recreated as four-color lithographs, each with hand-finished details, in editions of 10. The original prints will be on view at the Warehouse Gallery on 7th Street and at Irvine Contemporary on 14th Street during the exhibition.
Reception for the artist, Friday June 2, 6:00-8:00 at The Gallery at The Warehouse, 1017-21 7th Street NW, Washington DC. Artist's talk and afternoon reception, Saturday, June 3rd, 2:00-4:00 pm also at The Gallery at the Warehouse.
Special thanks to Molly and Paul Ruppert of the Warehouse for their collaboration on this project.
For further information, contact Martin Irvine or Heather Russell at Irvine Contemporary, 202-332-8767.
Irvine Contemporary and Warehouse Gallery :
Friday June 2 – Tuesday July 4
Special Installation at The Warehouse Gallery
1017-21 7th Street NW, Washington, DC
Hours: Thurs-Sat. 1:00-6:00 PM
Opening Reception for the artist:
Friday June 2, 6:00-8:00 at The Gallery at The Warehouse
Artist's talk and afternoon reception:
Saturday, June 3rd, 2:00-4:00 pm also at The Gallery at the Warehouse
In this off-site exhibition, Irvine Contemporary presents the installation work of internationally acclaimed, London- based artist Charbel Ackermann: "The New Geometry" and "Monument2". This exhibition is presented in collaboration with The Gallery at the Warehouse, Washington, DC.
In “The New Geometry”, Ackermann literalizes the "The Axis of Evil" metaphor from the 2002 State of the Union Address, and maps it onto multiple visual representations of the world. Using unaltered maps and satellite photographs, Ackermann re-presents the earth as if configured on this axis through a series of drawings, lithographs, mathematical calculations, and blackboard deductions, all reassembled for a culminating computer-projected presentation. One stunning image presents a straight line as from a 22,344km flight from Havana to Pyongyang, intersecting with Baghdad and Tehran, using satellite images obtained online through Google Earth. A realization of this project was also presented at The Drawing Center in New York (June-July, 2005).
“Monument2” ("Monument to Monuments," or "Monument Squared", created specially for our Washington exhibition, is a stunning mural drawing based on an ancient Roman triumphal arch. Ackermann’s Monument is a unique, interactive drawing: the monument is redrawn from thousands of original barcodes, each encoded with text fragments and Ackermann's own writing. Each barcode is programmed for a text message and is readable with handheld scanners which viewers can use to project texts in the inscription space of the arch. Constructed as a reflection on monuments and the cultural messages they encode for history, Ackermann creates a symbolic trajectory from the SPQR (The Senate and the People of Rome) inscribed on the Arch of Titus to Washington, D.C., the prime location of monuments in the U.S. and a city defined by architectural references to classical Rome.
Ackermann loads his barcodes with the philosophical, the impossible, the poignant, and the preposterous, leaving us delightfully reeling in the overlays of history and the meanings of monuments, and questioning if what we are reading is historical 'truth' or cultural 'fiction'-- or both.
New Limited Edition, Hand-Finished Lithographs for "The New Geometry"
For the Washington, DC exhibition of Ackermann’s “New Geometry”, Irvine Contemporary announces our first published print edition, consisting of Charbel Ackermann’s extraordinary hand-finished, limited edition lithographs. Ackermann has selected four of the “New Geometry” drawings to be recreated as four-color lithographs, each with hand-finished details, in editions of 10. The original prints will be on view at the Warehouse Gallery on 7th Street and at Irvine Contemporary on 14th Street during the exhibition.
Reception for the artist, Friday June 2, 6:00-8:00 at The Gallery at The Warehouse, 1017-21 7th Street NW, Washington DC. Artist's talk and afternoon reception, Saturday, June 3rd, 2:00-4:00 pm also at The Gallery at the Warehouse.
Special thanks to Molly and Paul Ruppert of the Warehouse for their collaboration on this project.
For further information, contact Martin Irvine or Heather Russell at Irvine Contemporary, 202-332-8767.
Forefront: Chakaia Booker
Friday, May 26, 2006 - Monday, September 4, 2006
Location: National Museum of Women in the Arts
In this large one-gallery installation, Chakaia Booker continues her sculptural exploration of the African American experience, feminism, and the work ethic in America. In her a “post-industrial” objects made from automobile tires, Booker develops her own version of environmental consciousness and rehabilitation. At the same time, her works comment upon the industrial machine and what it makes of men and women and their relationships—“the ensuing conditions of unmet needs and desires,” as she calls it. Ultimately, her sculptures are barb-tongued images in which formal innovations dovetail with force exercised and force absorbed.
General Information
National Museum of Women in the Arts
Hours: Monday - Saturday 10 am - 5 pm
Sunday noon - 5 pm
Closed Thanksgiving Day, Christmas Day, and New Year's Day
Admission: Adults $5
Visitors 60 and over and students $3
NMWA members and youth 18 and under Free
Free Community Days the first Sunday and Wednesday of the month
Address: 1250 New York Avenue, NW
Metro: Metro Center (Orange, Blue, and Red lines) 13th Street exit
Phone: 202-783-5000
Location: National Museum of Women in the Arts
In this large one-gallery installation, Chakaia Booker continues her sculptural exploration of the African American experience, feminism, and the work ethic in America. In her a “post-industrial” objects made from automobile tires, Booker develops her own version of environmental consciousness and rehabilitation. At the same time, her works comment upon the industrial machine and what it makes of men and women and their relationships—“the ensuing conditions of unmet needs and desires,” as she calls it. Ultimately, her sculptures are barb-tongued images in which formal innovations dovetail with force exercised and force absorbed.
General Information
National Museum of Women in the Arts
Hours: Monday - Saturday 10 am - 5 pm
Sunday noon - 5 pm
Closed Thanksgiving Day, Christmas Day, and New Year's Day
Admission: Adults $5
Visitors 60 and over and students $3
NMWA members and youth 18 and under Free
Free Community Days the first Sunday and Wednesday of the month
Address: 1250 New York Avenue, NW
Metro: Metro Center (Orange, Blue, and Red lines) 13th Street exit
Phone: 202-783-5000
Tuesday, May 23, 2006
Jazz in the Sculpture Garden
National Gallery of Art
Jazz in the Sculpture Garden
Friday Evenings, 5:00 – 8:30pm
May 26 – September 15
May 26: The Thad Wilson Jazz Orchestra
June 2: Cubano Groove
June 9: Allyn Johnson Trio
June 16: Nasar Abadey Quintet
June 23: Benito Gonzalez Trio
June 30: Rumba Club
July 7: Joshua Bayer
July 14: Dave Kline Group
July 21: Brian Settles Quartet
July 28: Lenny Robinson Group
August 4: Leonardo Lucini and Brasilia
August 11: Wayne Wilentz Group
August 18: Tedd Baker Quartet
August 25: Wayne Hooper and One Flight Up Jazz
September 1: Mark Aanderud
September 8: Michael Anthony Bowie
September 15: Michael Thomas Quintet
Concerts take place in front of the Pavilion Café by the fountain
In inclement weather, concerts are held inside the Pavilion Café
National Gallery of Art
Constitution Avenue between Third and Seventh Streets
202.737.4215
www.nga.gov
Jazz in the Sculpture Garden
Friday Evenings, 5:00 – 8:30pm
May 26 – September 15
May 26: The Thad Wilson Jazz Orchestra
June 2: Cubano Groove
June 9: Allyn Johnson Trio
June 16: Nasar Abadey Quintet
June 23: Benito Gonzalez Trio
June 30: Rumba Club
July 7: Joshua Bayer
July 14: Dave Kline Group
July 21: Brian Settles Quartet
July 28: Lenny Robinson Group
August 4: Leonardo Lucini and Brasilia
August 11: Wayne Wilentz Group
August 18: Tedd Baker Quartet
August 25: Wayne Hooper and One Flight Up Jazz
September 1: Mark Aanderud
September 8: Michael Anthony Bowie
September 15: Michael Thomas Quintet
Concerts take place in front of the Pavilion Café by the fountain
In inclement weather, concerts are held inside the Pavilion Café
National Gallery of Art
Constitution Avenue between Third and Seventh Streets
202.737.4215
www.nga.gov
Corcoran Artreach- Art by DC Youth
Expressions 2006
May 31-June 16, 2006
Opening reception, June 1, 2006
Corcoran Gallery of Art
500 Seventeenth Street NW
Washington, DC 20006
Monday, May 22, 2006
MID CITY ARTISTS OPEN STUDIOS, Washington, DC USA
We had a great weekend filled with travelers from all parts of the world. I counted Peru, Canada, China, France and Brazilian visitors plus art lovers from the neighborhood and the surrounding metropolitan area. A lot of our visitors read about the event in Best Bets of the Washington Post last week.The Dupont Current spotlighed the Mid City Artists Open Studios in it's weekly issue thanks to writer Jessica Gould. And the Washington Blade interviewed several of the participating artists. The spectacular weather made it easy to take the walking tour of studios between Dupont Cicle, Logan Circle and Shaw. Freya Grand, myself and Angela White greeted between 15-20 art lovers, collectors and visitors an hour on both Saturday and Sunday (more on Sunday). So thanks to everyone who came out to support the arts, talk with artists, purchase fine art and enjoy our historic neighborhoods on two fabulous sunny days in May. You made our weekend and we hope we made yours a little art friendlier in your home. Come back in the fall when we will have new selections for your collections. If you saw art that you'd like to own and are still considering it, give us a call. We'll be happy to help you.Here's a few pictures from our weekend.( I had to have a friend run around and photograph for me since I was busy talking nonstop!) It was a sweet weekend with a Peruvian grandmother who made my day on Sunday. You never know who's gonna show up!
Artists David and Marcie Wolf-Hubbard
Anne Marchand with Neon Sculptor Craig Kraft. 
Freya Grand's studio visitors
Freya Grand unveiling a landscape painting.
Angela White with guests
Thanks to our beautiful graduating Patience for welcoming our guests. Good luck on your new journey through life!www.annemarchand.com
PICASSO’S CLOSET
Be sure to mark this performance on your calendar!!! The play is sprinkled with many references to Picasso’s art—featuring Guernica quite prominently.
A World Premiere by Ariel Dorfman
Directed by John Dillon
Featuring Mitchell Hebert, Katherine Clarvoe, Saxon Palmer, Kathleen Coons, Bill Hamlin, Larry Redmond, Jim Jorgensen
PERFORMANCE SCHEDULE: June 21—July 23
Pay-What-You-Can Previews: Wednesday, June 21 at 7:30 & Thursday, June 22 at 7:30
$25 Weekend Previews: Saturday, June 24 at 7:30
TICKETS: $15--40. Call Box Office Tickets (800) 494-TIXS or www.boxofficetickets.com
The acclaimed author of Death and the Maiden unveils an extraordinary reimagining of Pablo Picasso living in a time of terror: What if Picasso didn't die in 1973 but was murdered by the Germans during the Occupation of Paris? And what if it wasn't Picasso's body that was murdered, but rather his soul? A work of dazzling innovation, romantic intrigue and probing dilemmas for our time.
BEHIND THE SCENES! The designer's Web site is worth a look! CLICK HERE to visit the Web site of Lewis Folden, the set designer for Picasso's Closet. You'll find photos of Picasso, Dora Maar, paintings by Picasso and Lewis' intricate models for our Picasso's Closet set.
LOCATION: Aaron & Cecile Goldman Theater at the Washington DC Jewish Community Center at 1529 16th Street NW in Washington, DC, 4 blocks east of Dupont Circle.
MORE INFO: www.theaterj.org
ARTISTIC DIRECTOR’S ROUNDTABLE
Immediately following many Sunday matinee performances, this discussion series brings together the finest panelists to explore issues of social, literary and political significance aimed at augmenting the playgoer’s experience. FREE with Picasso’s Closet ticket.
Sunday, July 2
Artists and Repression in Times of Terror
A panel exploring the choices—civic responsibility vs. and personal comfort—faced by artists under difficult circumstances.
Sunday, July 9
To Live or Die in Occupied France
A discussion of the realities and choices faced by artists, Jews, French citizens and others under Nazi occupation. With Ambassador of France Jean-David Levitte and Professor Renee Poznanski, Ben Gurion University of the Negev.
Sunday, July 16
Picasso – Can a Bad Man be a Good Artist? - A discussion of the psychological and philosophical dimensions of Picasso as human being and artist.
Sunday, July 23
5x5, Playwrights Respond to Picasso’s Closet
Email Hannah Hessel at hannah@dcjcc.org for submission guidelines
ADDITIONAL PROGRAMS
Sunday, July 2, Noon-7:30 pm
Painting on the Steps
You to can be Pablo Picasso! Colored chalks will be provided for your own artistic explorations.
A World Premiere by Ariel Dorfman
Directed by John Dillon
Featuring Mitchell Hebert, Katherine Clarvoe, Saxon Palmer, Kathleen Coons, Bill Hamlin, Larry Redmond, Jim Jorgensen
PERFORMANCE SCHEDULE: June 21—July 23
Pay-What-You-Can Previews: Wednesday, June 21 at 7:30 & Thursday, June 22 at 7:30
$25 Weekend Previews: Saturday, June 24 at 7:30
TICKETS: $15--40. Call Box Office Tickets (800) 494-TIXS or www.boxofficetickets.com
The acclaimed author of Death and the Maiden unveils an extraordinary reimagining of Pablo Picasso living in a time of terror: What if Picasso didn't die in 1973 but was murdered by the Germans during the Occupation of Paris? And what if it wasn't Picasso's body that was murdered, but rather his soul? A work of dazzling innovation, romantic intrigue and probing dilemmas for our time.
BEHIND THE SCENES! The designer's Web site is worth a look! CLICK HERE to visit the Web site of Lewis Folden, the set designer for Picasso's Closet. You'll find photos of Picasso, Dora Maar, paintings by Picasso and Lewis' intricate models for our Picasso's Closet set.
LOCATION: Aaron & Cecile Goldman Theater at the Washington DC Jewish Community Center at 1529 16th Street NW in Washington, DC, 4 blocks east of Dupont Circle.
MORE INFO: www.theaterj.org
ARTISTIC DIRECTOR’S ROUNDTABLE
Immediately following many Sunday matinee performances, this discussion series brings together the finest panelists to explore issues of social, literary and political significance aimed at augmenting the playgoer’s experience. FREE with Picasso’s Closet ticket.
Sunday, July 2
Artists and Repression in Times of Terror
A panel exploring the choices—civic responsibility vs. and personal comfort—faced by artists under difficult circumstances.
Sunday, July 9
To Live or Die in Occupied France
A discussion of the realities and choices faced by artists, Jews, French citizens and others under Nazi occupation. With Ambassador of France Jean-David Levitte and Professor Renee Poznanski, Ben Gurion University of the Negev.
Sunday, July 16
Picasso – Can a Bad Man be a Good Artist? - A discussion of the psychological and philosophical dimensions of Picasso as human being and artist.
Sunday, July 23
5x5, Playwrights Respond to Picasso’s Closet
Email Hannah Hessel at hannah@dcjcc.org for submission guidelines
ADDITIONAL PROGRAMS
Sunday, July 2, Noon-7:30 pm
Painting on the Steps
You to can be Pablo Picasso! Colored chalks will be provided for your own artistic explorations.
Saturday, May 20, 2006
Marchand Studio Opening
Anne Marchand
In conjunction with Mid City Artists Open Studios
Saturday, May 20 & Sunday, May 21, 2006
12:00-5:00 p.m. both days.
Arc Point
36" x 48"
acrylic and mixed media on canvas
This and other paintings will be on display during the open studio, Giclee prints and posters of my cityscapes will also be available. We look forward to seeing you.
Located in Historic Dupont Circle
My studio is located at
1413 17th Street NW
Washington DC
along with the studios of Freya Grand and Angela White.
3 blocks east of the Dupont North Metro stop on the red line.
You can pick up a walking map at any of the locations or
download a pdf map at www.midcityartists.com
Marchand Studio
www.annemarchand.com
email me
******************************************************************************
NOW SHOWING IN WASHINGTON, DC
“ELLIPSIS”
Marchand’s new body of abstract paintings through June 4, 2006.
at the Zenith Gallery
413 7th Street NW, Washington, DC 20004
202.783.2963
Metro Gallery Place/Archives
Stop in and say hi on Saturday, May 27 and June 3 from 1-3pm. I'll be there to talk to you about my newest paintings in the exhibition.
******************************************************************************
In conjunction with Mid City Artists Open Studios
Saturday, May 20 & Sunday, May 21, 2006
12:00-5:00 p.m. both days.
Arc Point 36" x 48"
acrylic and mixed media on canvas
This and other paintings will be on display during the open studio, Giclee prints and posters of my cityscapes will also be available. We look forward to seeing you.
Located in Historic Dupont Circle
My studio is located at
1413 17th Street NW
Washington DC
along with the studios of Freya Grand and Angela White.
3 blocks east of the Dupont North Metro stop on the red line.
You can pick up a walking map at any of the locations or
download a pdf map at www.midcityartists.com
Marchand Studio
www.annemarchand.com
email me
******************************************************************************
NOW SHOWING IN WASHINGTON, DC
“ELLIPSIS”
Marchand’s new body of abstract paintings through June 4, 2006.
at the Zenith Gallery
413 7th Street NW, Washington, DC 20004
202.783.2963
Metro Gallery Place/Archives
Stop in and say hi on Saturday, May 27 and June 3 from 1-3pm. I'll be there to talk to you about my newest paintings in the exhibition.
******************************************************************************
MID CITY ARTISTS OPEN STUDIOS, Washington, DC USA
MAY 20 & 21, 12:00pm - 5:00pm
Looking for an exciting weekend filled with art? Come to the Mid CityArtists Open Studios . I'll be participating with 30 other artists.
Wear your walking shows to tour through Dupont, Logan and Shaw's art neighborhoods. Walk, talk, look and shop your way through an exciting line up of painting, sculpture, glass, photography and prints by established and emerging artists. You will meet the artists firsthand and learn about their creative processes. Bring your interested art lover friends out for an extraordinary day of visual delights.
Download a walking map at www.midcityartists.com.
See you there!
Wednesday, May 17, 2006
Hanano Jewelry at HEMPHILL
Hanano Jewelry at HEMPHILL
Sunday, June 4, 2006
11:00 AM - 4:00 PM
HEMPHILL
1515 14th Street, NW
Suite 300
Washington, DC 20005
202.234.5601
Rania Hanano Designs is a collection of unique and one-of-a-kind creations. The pieces feature precious and semi-precious gems, as well as diamonds, antique stones and precious metals. Each piece is carefully created and assembled using the highest quality materials and strict attention to detail. www.hanano.com
Brothers, Sing On! June 3, 2006
Come and let the Camerata's voices lift you in song as we celebrate our newest CD release with a concert of glee club classics. We'll perform songs from our brand new recording including Biebl's Ave Maria, Shenandoah, Down in the Valley, and The Battle Hymn of the Republic.
Join us June 3rd!
As a special treat, we'll be performing a brilliant new work written for the Camerata by the great American composer Lee Hoiby as a dedication to Army Pfc. Jesse A. Givens - a solider killed in the war in Iraq. Joining us as a special guest choir for part of our program is the Annandale High School Men's Chorale under the leadership of director Carleen Dixon.
Tickets for the concert are $30 each and selling quickly - get yours today by puchasing below or calling the Kennedy Center Box Office at 202-467-4600!
Concert Location:
Terrace Theater - The John F. Kennedy Center for the Performing Arts -- Washington, DC -- Saturday, June 3, 2006 -- 7:30pm
Come join us in song!
Washington Men's Camerata
--------------------------------------------------------------------
email: camerata@camerata.com
phone: 202-467-4600
web: http://www.camerata.com
Washington Men's Camerata | PO Box 40511 | Washington | DC | 20016
Join us June 3rd!
As a special treat, we'll be performing a brilliant new work written for the Camerata by the great American composer Lee Hoiby as a dedication to Army Pfc. Jesse A. Givens - a solider killed in the war in Iraq. Joining us as a special guest choir for part of our program is the Annandale High School Men's Chorale under the leadership of director Carleen Dixon.
Tickets for the concert are $30 each and selling quickly - get yours today by puchasing below or calling the Kennedy Center Box Office at 202-467-4600!
Concert Location:
Terrace Theater - The John F. Kennedy Center for the Performing Arts -- Washington, DC -- Saturday, June 3, 2006 -- 7:30pm
Come join us in song!
Washington Men's Camerata
--------------------------------------------------------------------
email: camerata@camerata.com
phone: 202-467-4600
web: http://www.camerata.com
Washington Men's Camerata | PO Box 40511 | Washington | DC | 20016
"Art from the Gulf: Reflections on Katrina - 25 New Orleans artists
May 9 - June 16, 2006
In May, Pyramid Atlantic Arts Center, a 501(c)(3) nonprofit will present an exhibit of the work of 25 New Orleans artists. More than an exposition of recent artwork, "Art from the Gulf: Reflections on Katrina" will help reunite these 25 artists so that they can make sense of the storm's destruction, consider the future of New Orleans, and begin to lead the cultural front of the process to renew the Crescent City.
AHCMC invites you to join in this process by financially supporting Pyramid Atlantic and its exhibit. Your contribution is important to the success of the exhibition. The binding theme of all the artwork is community. The artists are exploring the many issues that arose in the wake of Katrinia -- such as wetlands conservation, urban planning, and the idea of home -- that can only be addressed through community action. We urge you to be a part of the community that is forming around this show by attending its opening reception on Tuesday, May 9, and by participating in the exhibit's panel discussion, "Katrina: Art and the Environment," led by artists, environmentalists, and community leaders on Thursday, May 25. Pyramid Atlantic will donate half of the show's proceeds; exhibiting artists will keep 50 percent of sales, while Pyramid Atlantic will donate the other 50 percent to the Arts Council of New Orleans in order to aid artists who lost their studios, equipment, and artwork to Hurricane Katrina.
For more information on how you can support this important exhibition, please contact Pyramid Atlantic at 301-608-9101 or info@pyramid-atlantic.org.
In May, Pyramid Atlantic Arts Center, a 501(c)(3) nonprofit will present an exhibit of the work of 25 New Orleans artists. More than an exposition of recent artwork, "Art from the Gulf: Reflections on Katrina" will help reunite these 25 artists so that they can make sense of the storm's destruction, consider the future of New Orleans, and begin to lead the cultural front of the process to renew the Crescent City.
AHCMC invites you to join in this process by financially supporting Pyramid Atlantic and its exhibit. Your contribution is important to the success of the exhibition. The binding theme of all the artwork is community. The artists are exploring the many issues that arose in the wake of Katrinia -- such as wetlands conservation, urban planning, and the idea of home -- that can only be addressed through community action. We urge you to be a part of the community that is forming around this show by attending its opening reception on Tuesday, May 9, and by participating in the exhibit's panel discussion, "Katrina: Art and the Environment," led by artists, environmentalists, and community leaders on Thursday, May 25. Pyramid Atlantic will donate half of the show's proceeds; exhibiting artists will keep 50 percent of sales, while Pyramid Atlantic will donate the other 50 percent to the Arts Council of New Orleans in order to aid artists who lost their studios, equipment, and artwork to Hurricane Katrina.
For more information on how you can support this important exhibition, please contact Pyramid Atlantic at 301-608-9101 or info@pyramid-atlantic.org.
Tuesday, May 16, 2006
artReston
CALL FOR ENTRY: artReston - The League of Reston Artists (LRA) 13th Annual Juried Exhibition
The League of Reston Artists (LRA) is pleased to announce that it is celebrating the success of its prestigious Annual Juried Exhibition by debuting a new name – artReston - for this year’s 13th edition of this respected and popular show.
“artReston is designed to celebrate the importance of the visual arts in Reston. For more than 35 years the LRA has helped to elevate the profile of local artists in our culturally diverse community. The purpose of the LRA’s Annual Juried Exhibition is to expose the Reston community to the contemporary art being created by talented artists from the metro Washington, D.C. region by exhibiting their work through a juried show presided over by a leading figure from regional art community. This year the LRA is honored to have Jack Rasmussen of the Katzen Arts Center serve as juror for artReston, the LRA’s 13th Annual Juried Exhibition.” – Mary Bronson, LRA Board President.
artReston will run from June 1 – July 2, 2006, and will be on view at the JoAnn Rose Gallery of the Reston Community Center at Lake Anne,1609-A Washington Plaza, Reston, VA 20190.
JUROR – Jack Rasmussen, Director of Art Gallery at the Katzen Arts Center at American University
League of Reston Artists
PO Box 2513
Reston, VA 20195
Mailed entries must be received by May 25.
The entry form for artReston can be downloaded from the LRA’s web site at http://leagueofrestonartists.org/JuneArtReston_2006.pdf
The League of Reston Artists (LRA) is pleased to announce that it is celebrating the success of its prestigious Annual Juried Exhibition by debuting a new name – artReston - for this year’s 13th edition of this respected and popular show.
“artReston is designed to celebrate the importance of the visual arts in Reston. For more than 35 years the LRA has helped to elevate the profile of local artists in our culturally diverse community. The purpose of the LRA’s Annual Juried Exhibition is to expose the Reston community to the contemporary art being created by talented artists from the metro Washington, D.C. region by exhibiting their work through a juried show presided over by a leading figure from regional art community. This year the LRA is honored to have Jack Rasmussen of the Katzen Arts Center serve as juror for artReston, the LRA’s 13th Annual Juried Exhibition.” – Mary Bronson, LRA Board President.
artReston will run from June 1 – July 2, 2006, and will be on view at the JoAnn Rose Gallery of the Reston Community Center at Lake Anne,1609-A Washington Plaza, Reston, VA 20190.
JUROR – Jack Rasmussen, Director of Art Gallery at the Katzen Arts Center at American University
League of Reston Artists
PO Box 2513
Reston, VA 20195
Mailed entries must be received by May 25.
The entry form for artReston can be downloaded from the LRA’s web site at http://leagueofrestonartists.org/JuneArtReston_2006.pdf
Monday, May 15, 2006
You Shouldn't Have!
An interesting (yes, arts) review in the Washington Post Style section today By WaPo Staff writer, Philip Kennicott
On the NEA's 40th, the Art of Politics
"An interesting convergence will occur Wednesday, when the National Endowment for the Arts begins a three-day celebration of its 40th anniversary at American University's Katzen Arts Center. Inside the impressive new facility, commandingly perched on Ward Circle in Northwest, is an exhibition of political art, or "Visual Politics: The Art of Engagement," as it is called by the curators. This is art as provocation, political commentary, utopian imagination, protest and, sometimes, pure unmitigated rage. It deals with gender, race, war and imperialism." Read here.
On the NEA's 40th, the Art of Politics
"An interesting convergence will occur Wednesday, when the National Endowment for the Arts begins a three-day celebration of its 40th anniversary at American University's Katzen Arts Center. Inside the impressive new facility, commandingly perched on Ward Circle in Northwest, is an exhibition of political art, or "Visual Politics: The Art of Engagement," as it is called by the curators. This is art as provocation, political commentary, utopian imagination, protest and, sometimes, pure unmitigated rage. It deals with gender, race, war and imperialism." Read here.
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