ARLINGTON ARTS CENTER presents
Over, Under, Forward, Back
on view JANUARY 12 - MARCH 30, 2019
Front Cover: Julia Kwon, Like Any Other: No. 37 Inside Cover: Olivia Tripp Morrow, Lips (detail)
Over, Under, Forward, Back on view JANUARY 12 - MARCH 30, 2019
featuring APRIL CAMLIN
JULIA KWON
STEVEN FROST
OLIVIA TRIPP MORROW
RANIA HASSAN
NATALIA NAKAZAWA
SARAH J. HULL
DANNI O’BRIEN
ROBIN KANG
SARAH STEFANA SMITH
WYATT RESIDENT ARTISTS GALLERY |
Convergence: Works by AAC’s Resident Artists
About the Exhibitions Whether working with thread, found fabric, recycled clothing, fishing line, or plastic netting, contemporary artists working in fibers, textiles, and related traditions utilize materials that are also ubiquitous in daily life. These materials circulate as commodities in the form of clothing and home goods, are handed down as family heirlooms, and are connected to cultural traditions that have often thrived outside the realm of fine art as it is conventionally defined. Due to this ubiquity, which extends across a variety of cultures and historical time periods, fibers and textiles have an especially active symbolic life, embodying a trove of memories, histories, and cultural connections that impact the way artists and viewers alike experience and understand them. From the circulation of commercial textile and fabric goods, such as clothing, to diverse traditions of hand-making, often coded as women’s work, fibers-based media and the techniques for manipulating them are tied to history, to economics, to community, and to family tradition. These connections have inspired and attracted the artists of Over, Under, Forward, Back, who embrace the techniques of the past, experiment with new means of production, utilize non-traditional materials, and mine their own personal and family histories for connections to their work. The works in the exhibition represent a range of production methods, although, for each artist, the process by which the work is created is an integral aspect of the work itself. April Camlin, Sarah J. Hull, and Julia Kwon practice techniques with longstanding connections to craft traditions, including embroidery, weaving, and sewing. Working with processes that are highly structured and rules-based, these artists are interested in mastering these techniques in order to break down, explore, and even subvert these traditions. Julia Kwon draws inspiration from bojagi, a traditional Korean object-wrapping cloth that dates to the Joseon Dynasty and is closely associated with both women’s labor and Korean identity. Sarah J. Hull works in embroidery, combining this traditional approach with influences from contemporary art, improvising within tight grids and structures she creates for her work. Embroidering directly into cloth as she weaves it, April Camlin draws inspiration for her compositions from the structures of weaving, while evidence of her hand, in the form of broken warp threads and small snags, reminds the viewer of the time and labor that goes into the production of all cloth material. Our individual connections to textiles and fabrics also make them a charged material for the exploration of personal, political, and cultural histories. In his Woven Compositions, Steven Frost incorporates recycled materials to evoke personal and family histories, as well as political struggles and events, including the LGBTQ rights
movement and the recent Women’s Marches. Danni O’Brien’s latch-hook rug works also evoke the past, including landscapes and events from the artist’s childhood. Rania Hassan’s interest in knitting comes, in part, from the community and familial connections the practice fosters. The artist also takes connections as a theme in her work, creating installations that combine webs of interconnected knitting and individual paintings. Overlapping cultural histories inform Natalia Nakazawa’s tapestries, which incorporate public domain images of artifacts from various times and places pulled from museum collections, emphasizing the cultural exchange, movement, and migration that have characterized much of human history. The creation of textiles and fibers material is closely tied to histories of labor, manufacturing, and commerce and these connections are reflected throughout the exhibition. Robin Kang creates her weavings on a TC-2 Digital Jacquard Loom and takes inspiration from the interconnected histories of weaving and digital technology, pulling imagery from both for her compositions. Sarah Stefana Smith creates sculptures and installations using manufactured, largely plastic materials like deer, bird, and safety netting. Working with these nontraditional materials, Smith mends, deconstructs, and manipulates them, bringing these boundary materials into the center of works that explore the nature of containment, exclusion, and difference. Olivia Tripp Morrow similarly incorporates manufactured goods into her work, manipulating mass-produced blankets, printed with her own intimate image collages, which she orders from a custom-printing website. Altered and adorned using a variety of other mass-produced goods, specifically materials tied to beauty standards, the works embody the vanishing boundary between our physical bodies and the commodities we purchase to clothe, protect, adorn, and alter them. The artists of Over, Under, Forward, Back demonstrate the complex material and conceptual possibilities of fibers, textiles and related materials, and the techniques used to manipulate them. The artists in the exhibition all share an interest in the material qualities of the media they utilize – they master laborious techniques, experiment with new approaches, and push the boundaries of their materials. At the same time, their interest in these processes and practices emerges, in part, from the social, historical, and political implications of these materials. Drawing on both the physical characteristics and the conceptual richness of their media, they demonstrate the exciting possibilities of fibers materials and techniques within the context of contemporary art. Blair Murphy Curator of Exhibitions
APRIL CAMLIN
April Camlin is an artist whose work examines and explores repetitive rhythmic structures through the binary languages of weaving, embroidery, ventriloquism, and percussion. Currently, her studio practice is focused on embroidering directly onto cloth as it is being woven at the loom. Before beginning a new weaving, Camlin draws out a full-scale version of the composition she is planning. These compositions are based on the structures and patterns of weaving itself. This method allows Camlin to work in conversation with the grid inherent in woven cloth, creating an interpretive language based upon weaving’s structures and restrictions. This time-consuming process stands in stark contrast to the disposability of so many contemporary goods, including inexpensive and commonplace cloth and fabric. The evidence of the artist’s hand in the work—in broken warp threads and snags— reminds the viewer of the labor, time, and life that is woven into every piece of cloth they encounter.
April Camlin’s work has been featured in group and solo exhibitions at Current Space (Baltimore, MD), School 33 (Baltimore, MD), SPRING/BREAK (New York, NY), Artist-Run Art Fair (Miami, FL), and DC Arts Center (Washington, DC). She holds a BFA in Fiber from the Maryland Institute College of Art (MICA) and was a hand-sewing assistant for Nick Cave Art in Chicago from 2011-2013. She is a founding member of the internationally recognized Wham City Collective and an adjunct faculty member of the Fiber Department at MICA. Camlin has completed residencies and fellowships at Haystack Mountain School of Crafts (2014, 2016), Penland School of Crafts (2017), The Elsewhere Museum (2017), and Ox-Bow (2017). In 2018 she was awarded the Maryland State Arts Council Individual Artist’s Award in Crafts and was a Sondheim Semifinalist.
Edification (detail), 2017 Embroidery into hand-woven cotton groundcloth 30 x 14 in
I Wanted to Be a Cheerleader Like Todd and Patrick, 2018 Paracord, wooden dowel, 90’s yellow middle school t-shirts, acrylic yarn, and strung sequins 38 x 36 in
STEVEN FROST
In his Woven Compostions, Steven Frost combines yarn and other traditional weaving materials with ribbons, plastic beads, sequins, shredded t-shirts, and other salvaged materials from a range of sources, exploring the ways history and time are embedded in materials. His materials evoke specific narratives and stories, referencing aspects of the artist’s personal and family history, the history of the LGBTQ rights movement, and the recent Women’s Marches, among other topics. In workshops and interactive performance events the artist invites participants to weave, using laser-cut versions of a traditional backstrap loom. By bringing together groups to weave collectively, Frost explores the ways weaving can act as a metaphor for communities working together.
Steven Frost has been featured in solo and two-person exhibitions at Basement Projects (Santa Ana, CA), CU Boulder Art Museum (Boulder, CO), 350 E 3rd/ArtX (Long Beach, CA), Robert Bills Contemporary (Chicago, IL), Coop Gallery (Nashville, TN), and Pleasant Plains Workshop (Washington, DC) and in group exhibitions at Wignall Museum of Contemporary Art (Rancho Cucamonga, CA), Imersten (Vienna, Austria), ACRE Gallery (Miami, FL), Chicago Cultural Center (Chicago, IL), and the AU Museum at the Katzen (Washington, DC) among other venues. Frost is the founder of the Colorado Sewing Rebellion, an offshoot of the original Sewing Rebellion founded by Frau Fiber (Carole Francis Lung). He holds an MFA in Fiber and Material Studies from the School of the Art Institute of Chicago and is an instructor in the College of Media, Communication, and Information at the University of Colorado, Boulder.
RANIA HASSAN
Rania Hassan combines knitting and painting to weave sculptural stories highlighting our connections to time, place, and circumstance. Her installation Paths is inspired by the ways that individual choices accumulate into particular relationships, events, and life journeys. In the installation, delicately knitted threads flow across the space, connecting painted panels installed throughout the room. Hassan’s work explores levels of connectedness, an interest that developed in part because of the familial and community connections that inspired her own interest in knitting. The artist’s embrace of the practice was inspired by the vibrant international community of knitters she found online, as well as the connection it created between herself, her mother, and her grandmother.
Rania Hassan’s previous solo exhibitions include The Front (New Orleans, LA), Gormley Gallery (Baltimore, MD), and Artisphere (Rosslyn, VA). Her work has been featured in publications including The Washington Post, Washington City Paper, and Vogue Knitting. She received a Craft Award of Excellence in 2009 from the James Renwick Alliance and was a recipient of the DC Commission on the Arts and Humanities Visual Arts Fellowship in 2009 and from 2014 to 2019. Her work is included in the permanent collections of the National Institutes of Health (Bethesda, MD), Amazon Web Services (Herndon, VA), and the District of Columbia’s Art Bank Collection (Washington, DC).
Paths: New Orleans (detail), 2017 Oil, fiber, wood, and metal 156 x 156 x 180 in
Ostinato.07, 2017 Silk and cotton 8 x 8 in
SARAH J. HULL
Working with traditional embroidery techniques but in a contemporary form, Sarah J. Hull creates a dialogue between the materials, the hand, and the underlying grids that reappear throughout her work. Beginning with a set pattern or structure, Hull inserts intentional disruptions into her grids and systems, creating visual interest and emphasizing the original intention. This interest in structure and disruption is informed by the artist’s perception of society, specifically the way the rhythms of individual experience exist within the constraints of a given community. The title of the artist’s Ostinato series is borrowed from music theory, where it describes a portion of music that repeats the same rhythm or melodic element and acts as the foundation for improvisation. In the series, the artist begins with a standard structure which forms the basis for individual pieces, each constructed with slight variations on the original pattern. In the resulting series, each piece evokes a sense of internal contemplation while simultaneously being part of a larger and more complex experience.
Sarah J. Hull, originally from Rhode Island, is a Washington, DC-based artist who is a graduate of Wellesley College with a B.A. majoring in Architecture (pertinent, required coursework performed at M.I.T). Currently, she is enrolled in the Royal School of Needlework’s Certificate & Diploma program and is a member of the UK-based Society for Embroidered Work (S.E.W.). Counterpoint, her first solo exhibition, opened at District of Columbia Arts Center in March 2017. Her work can be found in private collections in Washington, DC; New York, NY; Cambridge, MA; Louisville, KY; and Sioux Falls, SD.
ROBIN KANG
Robin Kang weaves tapestries that explore the connections between contemporary technology and the history of textile fabrication and manufacturing. Incorporating graphics drawn from circuit boards and patterns from ancient weaving traditions into her work, the artist points to the influence that weaving technology had on the development of modern computing. From the influence of Jacquard’s punch card system—developed for his loom—on the creation of early computers, to the hand-woven copper wires found on early memory storage hardware, our current technological landscape is closely linked to the history of weaving. These intertwined histories, which often remain unacknowledged, upend traditional expectations surrounding gender, labor, and technological development. Working on a TC-2 Digital Jacquard Loom, Kang creates a technologically-supported framework for her compositions which she can then disrupt, alter, and manipulate by hand during the weaving process. These interruptions and glitches point back to the artist’s hand, reasserting the role of human labor in even the most technologically advanced forms of production.
Originally from Texas, Robin Kang received her MFA at the School of the Art Institute of Chicago and currently lives in Brooklyn, NY. Her work has been exhibited throughout the US, Canada, Spain, Belgium, Austria, Indonesia, and Saudi Arabia. Recent institutional shows include the Queens Museum (Queens, NY), the Essl Museum (Vienna, Austria), John Michael Kohler Arts Center (Sheboygan, WI), U.S Embassy in Saudi Arabia (Riyadh, Saudi Arabia) and Brooklyn Academy of Music (Brooklyn, NY), among others. She has participated in artist residencies in Texas, Michigan, Massachusetts, and Beijing. Kang is the founder and director of Carousel Space Project, an alternative art space in Chicago, and Penelope, a project space in Ridgewood, Queens.
Topaz Shield, 2016 Jacquard woven cotton, wool, metallic, and synthetic yarns 86 x 65.5 in
Like Any Other: No. 43, 2017 Silk, thread, wood, and wire 28 x 28 x 8 in
JULIA KWON
Julia Kwon’s work comments on gender and ethnicity, creating ruptures within traditional Korean patterns. The artist draws inspiration from the Korean patchwork object-wrapping cloth called bojagi, a traditional craft created by sewing together small segments of fabric. From its origins during the Joseon Dynasty, sewing bojagi was considered “women’s work” and functioned as a creative outlet for women at a time when they had limited contact with the outside world. Kwon creates textile works which echo the color schemes and format of bojagi, exploring notions of tradition, craft, and feminized labor. Drawing on the bojagi tradition, the artist cherishes and sustains her own cultural background, while also exploring constructed ideas of what it means to be Korean. In Like Any Other: No. 45, bojagi-inspired textiles cover three human forms, protecting but also hiding and literally objectifying the figures. By overburdening her textile works with Korean patterns and incorporating objectified human figures into her work, Kwon exposes and undercuts the preconceptions attached to her gender and ethnicity.
Julia Kwon was born in Northern Virginia and earned an MFA at the School of the Museum of Fine Arts, Boston/Tufts University and a BA in Studio Art at Georgetown University. Kwon has had solo exhibitions at Montgomery College’s Maze Gallery (Silver Spring, MD), University of Rochester’s Hartnett Gallery (Rochester, NY), IA&A at Hillyer (Washington, DC), Textile Arts Center (New York, NY) and the Project Space of Banff Centre for Arts and Creativity (Alberta, Canada). She has participated in artist residencies at Banff Centre for Arts and Creativity, Vermont Studio Center, and Textile Arts Center and was recently awarded the School of the Museum of Fine Arts/Tufts University’s Traveling Fellowship.
OLIVIA TRIPP MORROW
Olivia Tripp Morrow’s video, sculptural, and fibers work broadly addresses the body, memory, and sexuality. The artist often incorporates found or donated materials into her work, including women’s clothing, bed sheets, blankets, and other materials that are imbued with personal or cultural significance. More recently, Morrow has begun working with mass-produced blankets purchased online and custom-printed with her own intimate photo-collages. This work aims to critique the absurdly narrow ideals of beauty and femininity in the US, which are propagated by digital media and advertising industries. Referencing traditional quilt work through grid-like patterns, the artist cuts, stretches, layers, and resews these factory-produced goods into forms that evoke the bodies they are meant to contain and cover. Her formal experimentation also reasserts the presence of the human hand—both her own and those of the anonymous factory workers who produced the original material.
Olivia Tripp Morrow was born in Washington, DC and currently lives and works in the DC-metro area. Morrow received her BFA at Syracuse University, graduating cum laude with Sculpture in December of 2012. Her work has been exhibited nationally and internationally, with solo and two-person exhibitions at Arlington Art Center (Arlington, VA), IA&A at Hillyer (Washington, DC), Anacostia Arts Center (Washington, DC), and Point of Contact Gallery (Syracuse, New York). Recent group exhibitions include The Noyes Arts Garage of Stockton University (Atlantic City, NJ), Flagg Building Atrium at the Corcoran School of Art (Washington, DC), Dupont Underground (Washington, DC), Arena Stage (Washington, DC), The Strathmore Mansion (Bethesda, MD), and the World of Threads Festival (Ontario, Canada). Morrow has artwork on permanent loan at the National Institutes of Health (Bethesda, MD), Shop Made in DC (Washington, DC) and at Arlington Arts Center (Arlington, VA), where she is a current Resident Artist.
Lips (detail), 2018 Blanket, sewing pins, plastic hooks, tights, sand, and curtain rod 99 x 96 in
Obtraits, 2015 Jacquard woven tapestry 71 x 53 in
NATALIA NAKAZAWA
Working in painting, drawing, and textiles, Natalia Nakazawa explores identity, multiculturalism, personal histories, and institutional archives. In her recent work, the artist utilizes public domain images from online museum collections, taking advantage of a trend towards greater openness on the part of large museums. For Nakazawa, this shift is a subtle reversal of the origins of these museum collections, which were built upon the theft and subsequent privatization of objects from cultures around the world. For the Obtraits series, the artist combines images of diverse artifacts into collages, which are then produced as lush textiles. Through the interactive and ongoing project Our Stories of Migration, Nakazawa invites participants to embroider their own ancestral, present, and future paths onto the surface of a world map tapestry which is itself constructed from images of objects that embody historical moments of cultural exchange. Nakazawa’s work encourages critical engagement, utilizing the familiar, warm format of the tapestry as a means of creating objects that can be simultaneously comforting and disruptive.
Natalia Nakazawa received her MFA in studio practice from California College of the Arts, a MSEd from Queens College, and a BFA in painting from the Rhode Island School of Design. Her work has been exhibited at the Children’s Museum of Manhattan (New York, NY), Wassaic Project (Wassaic, NY), Museum of Arts and Design (New York, NY), The Metropolitan Museum of Art (New York, NY), The Noyes Museum of Art (Atlantic City, NJ), Old Stone House (Brooklyn, NY), Project for Empty Space (Newark, NJ), The Space for Public Art (New York, NY), Blackburn 20|20 Gallery (New York, NY), Casa de la Ciudad (Oaxaca, Mexico), Queens Museum of Art (Queens, NY), Topaz Arts Inc. (Queens, NY), and ISE Cultural Foundation (New York, NY).
DANNI O’BRIEN
Danni O’Brien’s work explores childhood landscapes through camp, craft, and humor. Her current practice is centered on the creation of latch-hook rugs, a hobby store craft technique that was prevalent in the artist’s youth. Using discontinued vintage wool found on eBay and plastic rope from the dollar store, O’Brien creates plush painting-like images as well as covers for more complex mixed-media sculptures. The artist employs this nostalgic and kitschy process in order to build fuzzy, fibrous compositions of abstracted memories and motifs from her adolescent girlhood. The resulting cheeky compositions and sculptures evoke children’s playground equipment and the artists own memories of her pubescent body. O’Brien harnesses both the physical qualities and the social implications of her materials, grappling with notions of femininity, domesticity, and craft in works with off-kilter color schemes and animated textural shifts.
Danni O’Brien is a queer womyn maker and art educator currently based in Baltimore, Maryland. Her work has been shown at Little Berlin (Philadelphia, PA), Terrault (Baltimore, MD), Juicebox Gallery (Kansas City, MO), McLean Project for the Arts (McLean, VA), El Taller (Buenos Aires, Argentina), and Target Gallery (Alexandria, VA). She has recently been awarded artist residencies at PLOP (London, UK), The Maple Terrace (Brooklyn, NY), Art Farm (Marquette, NE) and Proyecto Ace (Buenos Aires, Argentina). Her work has appeared in Architectural Digest, ArtMaze, and Hiss Mag. She is currently preparing for an upcoming solo show with School 33 in Baltimore, MD. She holds a BFA from James Madison University.
A Bloop & a Blast, 2018 Latch-hook yarn and plywood 36 x 32 x 2 in
Mend, 2018 Bird netting, fishing line, and black thread 75 x 15 x 14 in
SARAH STEFANA SMITH
Sarah Stefana Smith uses barrier materials—deer, bird, and safety netting, chicken wire and fishing line—to comment on lines of demarcation around difference and the way modes of difference are used to constitute and solidify belonging. Utilizing materials designed for containment, separation, and protection, Smith’s work mines the physical qualities of these materials, deconstructing, mending, and manipulating them. In her mixed media installations, the artist utilizes multiple modalities, replicating and extending these abstract forms through projection and shadow. Transformed into a unified whole through processes of mending and deconstruction, materials associated with separation, restriction, and categorization are moved to the center, questioning the nature of boundaries and containment. In the ongoing project A | Mend, the artist draws on the etymological difference between amend, mend, emend, and amendment, considering their overlapping meanings and the possibility of altering something in order to make it right or just.
Sarah Stefana Smith has exhibited in mainstream and alternative spaces, including Borland Project Space (State College, PA), Waller Gallery (Baltimore, MD), Gallery CA (Baltimore, MD), David Spectrum (Toronto, Canada), and Hammond House (Atlanta, GA). She was recently an artist-in-residence at the Virginia Center for the Creative Arts. Previous residencies include the Feminist Art Conference, Vermont Studio Center, and 40th Street Artist in Residence. Smith received her PhD in 2016 from the University of Toronto in Social Justice Education and completed a MFA in 2010 from Goddard College. She was a 2016-2017 Postdoctoral Fellow with the Africana Research Center at The Pennsylvania State University and is a 2018-2020 Postdoctoral Fellow of Academic Diversity at American University where she teaches in the Critical Race, Gender, and Cultural Studies Collaborative and the Department of Art.
CONVERGENCE:
WORKS BY AAC’S RESIDENT ARTISTS
Featuring a diverse selection of works by AAC’s twelve resident artists, Convergence examines the current trajectories of these artists, while surveying the collective output of AAC’s creative community. Reflecting the creative dialogue that characterizes AAC’s residency program, this exhibition presents work in a broad array of media, from sculptural assemblage to photographs to paintings. Despite the multiplicity of approaches, the works are connected by a shared interest in time and memory, personal and cultural history, and material transformation. From sculptural works based on memories of the urban landscape, to photographs exploring absence and presence, to paintings addressing cultural appropriation, this exhibit offers an overview of the processes and themes embraced by AAC’s talented artistic community. Featured artists include AAC’s ten long-term and two short-term resident artists: Negar Ahkami, Michèle Colburn, Roxana Alger Geffen, Sarah Hardesty, Stephanie Lane, Marissa Long, Ryan McCoy, Olivia Tripp Morrow, Jen Noone, Jung Min Park, Austin Shull, and Dawn Whitmore.
Ryan McCoy Untitled (Death of a distant light IV), 2018 Oil, emulsion, sea-water residue, ash, straw, baby powder, and pine needles on canvas 48 x 72 in
Wyatt Resident Artists Gallery
| Convergence: Works by AAC’s Resident Artists
About Arlington Arts Center (AAC) is a 501(c)(3) nonprofit contemporary visual arts center dedicated to presenting and supporting new work by regional artists in the Mid-Atlantic states. Through exhibitions, educational programs, and subsidized studio spaces, AAC serves as a bridge between artists and the public. The goal is to increase awareness, appreciation of, and involvement in, the visual arts in Arlington County, VA and the region. AAC was established in 1974 and has been housed since 1976 in the historic Maury School. Our facility includes nine exhibition galleries, a large lawn suitable for public art, working studios for twelve artists, and three classrooms. At 17,000 square feet, AAC is one of the largest non-federal venues for contemporary art in the Washington, DC metropolitan area.
Exhibitions Through quarterly changing exhibitions, AAC serves as a launching pad for emerging artists, provides established artists with the opportunity to experiment, and offers the public a snapshot of the region’s most compelling contemporary art. AAC’s exhibitions and attendant lectures, workshops, and panel discussions offer opportunities for dialogue, and ultimately serve to illustrate the value of contemporary art – specifically, what it is and why it matters in our daily lives.
Education AAC offers a stimulating schedule of art classes year-round for novice and seasoned artists of all ages, from toddlers to adults. Taught by experienced professional artists, AAC’s classes are small, scheduled around the school and work day, and tuition is affordable. AAC’s art students have access to the excellent contemporary art in our galleries to help stimulate and inspire their own efforts.
Resident Artists Program AAC’s resident artist program provides subsidized studio space in a supportive environment that encourages interaction, dialogue, and exploration. Residents become part of a creative community that enables them to exchange ideas, engage in meaningful conversation, and expand their practice.
Hours & Location Arlington Arts Center is open free to the public Wed - Sun, 12 - 5 pm Metro: Silver & Orange Lines: Virginia Square 3550 Wilson Boulevard Arlington, VA 22201 703.248.6800 For more info about AAC visit: www.arlingtonartscenter.org
Staff EXECUTIVE DIRECTOR Holly Koons / director@arlingtonartscenter.org EDUCATION & OUTREACH MANAGER Samantha Marques-Mordkofsky / education@arlingtonartscenter.org CURATOR OF EXHIBITIONS Blair Murphy / exhibitions@arlingtonartscenter.org MARKETING COORDINATOR Laura Devereux / information@arlingtonartscenter.org
Sponsors & Partners Our programs are made possible through the generous support of the The Morris and Gwendolyn Cafritz Foundation; Arlington County through the Arlington Cultural Affairs division of Arlington Economic Development and the Arlington Commission for the Arts; the Virginia Commission for the Arts/National Endowment for the Arts; the Washington Forrest Foundation; and generous individual donors.
Natalia Nakazawa, Our Stories of Migration
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