ARLINGTON ARTS CENTER presents
You, if no one else on view JANUARY 20 - MARCH 31, 2018
Front Cover: Kim Beck, #MINE; Inside Cover: Roxana Alger Geffen, Dissent Collars #7 & #10
You, if no one else on view
JANUARY 20 - MARCH 31, 2018
featuring
KIM BECK PHIL BUEHLER LIZANIA CRUZ MEL DAY + MICHAEL NAMKUNG FOR FREEDOMS ROXANA ALGER GEFFEN ASHLEY MINNER DANA OLLESTAD JON RUBIN + LEE WALTON DANIELLE A. SCRUGGS
WYATT RESIDENT ARTISTS GALLERY | MICHÈLE COLBURN:
The More Things Change
Tino Villanueva: You, if no one else
Listen, you who transformed your anguish into healthy awareness, put your voice where your memory is. You who swallowed the afternoon dust, defend everything you understand with words. You, if no one else, will condemn with your tongue the erosion each disappointment brings.
4 FALL SOLOS 2017 ¡ Arlington Arts Center
You, who saw the images of disgust growing, will understand how time devours the destitute; you, who gave yourself your own commandments, know better than anyone why you turned your back on your town’s toughest limits.
Don’t hush, don’t throw away the most persistent truth, as our hard-headed brethren sometimes do. Remember well what your life was like: cloudiness, and slick mud after a drizzle; flimsy windows the wind kept rattling in winter, and that unheated slab dwelling where coldness crawled up in your clothes.
Tell how you were able to come to this point, to unbar History’s doors to see your early years, your people, the others. Name the way rebellion’s calm spirit has served you, and how you came to unlearn the lessons of that teacher, your land’s omnipotent defiler.
Dana Ollestad, Family Stories
About the Exhibition Political turbulence is marked by our makers. It is recorded, filtered through, discussed by, and railed against in poetry, sculpture, film, music, performance, painting, photography, social action, and more. This exhibition borrows its name from the title of American poet and writer Tino Villanueva’s poem You, if no one else. Villanueva’s poem holds a mirror to individual political awareness and engagement and likewise this exhibition examines the ways in which we — as individual citizens and artists — participate in political and community action. The works are frequently performative and interactive and many of the artists’ practices are rooted in photography and video. All are marked by a sense of poetry, often subtle or wry, and then amplified and made complicated through dialogue, beauty, and nuance. The planning for this exhibition began with a curiosity about the imprint a Trump presidency will have on artistic production. This group of ten artist projects engages directly with communities; creates substantial political discourse; documents political activity within different communities; shines a light 4 FALL SOLOS 2017 · Arlington Arts Center
on social injustices; and uses the forms and architecture of political protest to create work. The role of beauty and aesthetics in social discourse comes into play in a stunning series of photographs taken by Kim Beck on a road trip across country. The photographs feature a sign that reads #MINE in the same gold typeface found on Trump Tower in New York City. The sign is situated in national parks, next to oil rigs, on beaches, and along borders, calling into question issues around land use, natural resource extraction, ownership, and the arbitrariness of our boundaries. In Wall of Song, Mel Day and Michael Namkung create a ghostly video portrait of thousands of different participants singing Leonard Cohen’s iconic “Hallelujah.” Initially conceived as a rebuttal to the Mormon Tabernacle Choir’s performance for President Trump’s inauguration, the collaborative work invites people to record and submit their own version of the song. The resulting video layers faces and merges voices, giving presence to the many rather than privileging the few; it hands power to the masses.
Lizania Cruz’s Flowers for Immigration depicts flower arrangements made by undocumented flower workers in New York City. Cruz asked the workers to create arrangements for President Trump’s immigration policy and then photographed the resulting arrangements and individual flowers on a stark black background. Imbuing the flowers with highly-charged personal and cultural meanings, the arrangements call to mind both the symbolism and formal quality of light in a Northern European still-life painting.
Danielle A. Scruggs’ photographs highlight key moments leading up to the historic 2016 election and were first published in the Chicago Reader. Scruggs documented Parade to the Polls, a concert and march led by Chance the Rapper to the Chicago Board of Elections on the day before the election to urge young people to vote. This series, along with two other projects, shows Scruggs’ work interviewing and capturing images of Hispanic voters and documenting a polling location on the West Side of Chicago.
In 2016, Dana Ollestad created Family Stories, a multifaceted portrait of modern families in the Richmond, VA area. Through interviews with his subjects, Ollestad presents a storytelling project that weaves together issues around interracial marriages, same sex adoption, and more.
In a series of installations that encircle the viewer, Phillip Buehler’s American Trilog y panoramas transport us into politically charged spaces. The structure included in You, if no one else captures the historic Women’s March on Washington that took place on January 21, 2017. In two additional installations from the series, Buehler documented the exact spot where Michael Brown was shot by police in Ferguson, Missouri and the grave of Captain Captain Humayun Khan at Arlington National Cemetery. Modeled after the famous cyclorama in Gettysburg, Buehler’s cylindrical architectural forms allow viewers to walk into and be surrounded by his images.
With a practice at the intersection of storytelling, folklore, and visual arts, Ashley Minner creates work with the Lumbee community in Baltimore, MD. After realizing that most existing formal documentation of the community had been done by outsiders, Minner began recording oral histories and creating an indepth series of portraits, including The Exquisite Lumbee Project. The resulting photographs show the depth and personality of each subject to form a greater portrait of an urban, American Indian community that is both multifaceted and unified. Riffing on Supreme Court Justice Ruth Bader Ginsberg’s well-known dissent collars, Roxana Geffen deftly borrows a potent symbol of political resistance. Geffen makes her own collars with palettes ranging from acrid hues to more muted tones, her stitches and handiwork often rendered intentionally visible and awkward. Geffen’s collars function as both sculptural objects and as props for self-portraits. In Geffen’s photographs, the collars, often ominous, constricting, and constraining creep up and down her neck and body. Lee Walton and Jon Rubin deploy the tools of protest and tap into its history in an anachronistic performance and video project that features two performers in Revolutionary War-era garb playing contemporary protest songs, ranging from Marvin Gaye to Rage Against the Machine, all on a drum and a fife. When the World’s on Fire took place over the course of thirty days on Boston’s historic Cambridge Common, the site where George Washington first gained control of the Continental Army in 1775 and a contemporary site for political protests.
Yard Sign Activation, a political project devised by For Freedoms will activate the lawn of Arlington Arts Center during You, if no one else. For Freedoms is a collective of artists founded in 2016 by Eric Gottesman and Hank Willis Thomas as a platform to engage artists, policymakers, and the public around political activity and discussions. Just one part of a much larger initiative, these signs take the form of the signs found in yards and public spaces endorsing political candidates. Rather than promoting particular candidates, the signs each include one of four phrases: Freedom From, Freedom Of, Freedom To, or Freedom For. The ten projects represented offer a sense of the range, depth, and piercing criticality by which artists are tackling the spectrum of social and political affairs. They veer away from literalism and didacticism and embrace the beauty and poetry of engagement and dialog. The issues represented are varied. Questions are asked, made more complicated, and often left unanswered, spurring conversation and ultimately representing the complexities of a shattered and deeply divisive social and political landscape. Karyn Miller Exhibition Curator
Inspired by Woody Guthrie’s anthem, “This Land is Your Land” About the Artist KIM BECK grew up in Colorado, and currently lives in Pittsburgh where she teaches at Carnegie
Mellon. Her work has been shown on billboards, along the High Line, at the Walker Art Center, Carnegie Museum of Art, Smack Mellon, Socrates Sculpture Park, Hallwalls Contemporary Art Center, The Andy Warhol Museum, Minneapolis Institute of Art, and Indianapolis Museum of Art. She has been a fellow at the Montalvo Arts Center, MacDowell Colony, Art Omi, Yaddo, Helsinki Artists Program, Sharpe Studio Program, The International Studio & Curatorial Program, and Virginia Center for the Creative Arts and has received awards from Ars Electronica, Heinz Foundation, and Printed Matter. Beck received her MFA from the Rhode Island School of Design and BA from Brandeis University.
KIM BECK
6 YOU, IF NO ONE ELSE · Arlington Arts Center
#MINE
About the Work Inspired by Woody Guthrie’s anthem, “This Land is Your Land,” Kim Beck created a gold-mirrored #MINESIGN cut in the Trump Tower typeface. Beck took the sign on a road trip from California to New York, photographing it in the landscape as if Trump was absurdly declaring “#MINE” across the country. The #MINESIGN has a
KIM BECK
dual nature in that it is also a representation of Beck’s own voice attempting to recuperate the landscape. A recovered stanza from Guthrie reads: “As I went walking I saw a sign there / And on the sign it said ‘No Trespassing.’ / But on the other side it didn’t say nothing, / That side was made for you and me.”
About the Artist Ever since he photographed then abandoned Ellis Island in 1974, PHIL BUEHLER has documented dozens of abandoned and historic places around the world. He has returned to many more than once, capturing their further decay, restoration, or demolition and gaining a reputation as one of the first photographers to document the world’s modern ruins. Buehler received his MFA from the School of Visual Arts, and his photographs have been exhibited widely in galleries and museums, including PS1/MOMA, the Bronx Museum, and Spring/Break Art Show. His book, “Woody Guthrie’s Wardy Forty” was published in 2014 and garnered several awards. His solo exhibit last year at Front Room Gallery in New York City, (UN)THINKABLE, focused on remnants of the Cold War.
One is surrounded in a sea of pink pussy hats and protest signs
PHIL BUEHLER 8 YOU, IF NO ONE ELSE · Arlington Arts Center
Tune American Trilog y: Washington
About the Work American Trilogy: Washington transports visitors to the Washington Mall between the White House and the Washington Monument, on the day of the Women’s March on Washington. One is surrounded in a sea of pink pussy hats and protest signs, immersed in this historical moment. It is created by digitally stitching together hundreds of images into one wraparound photograph. These walk-in photographs are akin to the painted Cyclorama of the Battle of
PHIL BUEHLER
Gettysburg, but on a more intimate scale. Other installations in this body of work include American Trilogy: Ferguson, where one stands amidst the makeshift memorial of stuffed animals on the spot where Mike Brown was shot and killed by police, and American Trilogy: Arlington, where one stands at the headstone of Captain Humayun Khan, the Muslim soldier whose parents spoke at the Democratic National Convention.
features the personal stories of undocumented flower workers told through their flower arrangements About the Artist Originally from the Dominican Republic and now residing in New York City, LIZANIA CRUZ is a participatory artist interested in how migration affects notions of citizenship, identity, and ways of belonging. As she reconciles with her own Caribbean diaspora, Cruz has been exploring these themes in concepts that translate to printed matter, objects, and photography. For these mediums, she utilizes different frameworks to grant participants an active role in shaping the narrative. Cruz was a 2017 Create Change artists in residence at Laundromat Project, where she started developing a physical newsstand that collects and shares immigrants’ stories. Her work has been featured on Fusion News, Hyperallergic, and KQED Arts among other publications.
LIZANIA CRUZ
10 YOU, IF NO ONE ELSE ¡ Arlington Arts Center
Flowers for Immigration
About the Work Flowers for Immigration is a photography-based project created by artist and designer Lizania Cruz that features the personal stories of undocumented flower workers told through their flower arrangements. Cruz invites undocumented bodega flower workers to participate in making a flower arrangement in response to Donald Trump’s immigration policy. Every day these workers design flower arrangements for New Yorkers to use as a means of expressing themselves. How
LIZANIA CRUZ
can these bodega workers have the same opportunity for self-expression? Flowers for Immigration questions how to create empathy for these workers without revealing their faces, which have already been subject to so much bias. Cruz photographs the flower arrangements composed by undocumented bodega workers in order to represent their humanity and amplify their voices in a visible way.
About the Artists MICHAEL NAMKUNG is an interdisciplinary artist based in Miami, Florida. Through performance,
video, installation, and the participation of others, he investigates questions of process, materiality, and perception, specifically in terms of their relationship to the body. Namkung holds an MFA in Drawing and Painting from San Francisco State University. He has performed and exhibited in venues such as SFMOMA, Yerba Buena Center for the Arts, and Headlands Center for the Arts. Honors include the 2010 James Rosenquist Artist in Residence in Fargo, North Dakota, an Individual Artist Commission Cultural Equity Grant from the San Francisco Arts Commission, an Investing in Artists Grant from the Center for Cultural Innovation in 2011, and a Tanne Foundation Award in 2012. Namkung is currently Assistant Professor of Drawing at Florida International University. MEL DAY is an interdisciplinary artist and educator working across a range of media including
immersive video installations, painting, photo-based works, participatory projects, and performance. Day, a Canadian-British artist currently based in the San Francisco Bay Area, has exhibited and screened her work in venues such as Yerba Buena Center for the Arts, San Francisco Film Festival, Oberpfälzer Künstlerhaus and The Berlin Office in Germany, Pacific Film Archive, Berkeley Art Museum, San Jose Institute of Contemporary Art, ZERO1 Biennale, Peak Gallery in Toronto, and Grace Cathedral in San Francisco. Day is currently a Visiting Lecturer at San José State University. She holds an MFA from UC Berkeley and a BFA from Queen’s University, Canada with a year’s study at the Glasgow School of Art, Scotland.
MEL + MICHAEL DAY NAMKUNG
12 YOU, IF NO ONE ELSE· Arlington Arts Center
Wall of Song, Grace Cathedral, San Francisco
in this time of great unknowing, uncertainty, and division, this is a wall that brings us together About the Work Artists Mel Day and Michael Namkung launched Wall of Song in Washington, DC and at the San Jose Institute of Contemporary Art on Inauguration Day, 2017. The project is a collaborative singing video that invites people from all different backgrounds, beliefs, political affiliations, orientations, and countries of origin—no matter their ability
to carry a tune—to record themselves singing along to Leonard Cohen’s “Hallelujah”. The videos are then layered together, creating a collective chorus from the diverse and often dissonant voices. In this time of great unknowing, uncertainty, and division, this is a wall that brings us together.
MEL DAY + MICHAEL NAMKUNG
About the Artists FOR FREEDOMS is a platform for civic engagement, discourse, and direct action for artists in
the United States. Founded in January 2016 by artists Hank Willis Thomas and Eric Gottesman, For Freedoms aims to engage artists, policy makers, and the public in the exploration of how creativity and action can combine to form a more perfect union. Inspired by American artist Norman Rockwell’s paintings of Franklin D. Roosevelt’s Four Freedoms (1941)—freedom of speech, freedom of worship, freedom from want, and freedom from fear— they seek to use art to encourage and deepen public discussions of pressing civic issues and core democratic values.
participants are invited to consider the importance of Roosevelt’s Four Freedoms in their own lives
FOR FREEDOMS 14 YOU, IF NO ONE ELSE · Arlington Arts Center
Yard Sign Activation
About the Work The hundreds of yard signs in For Freedoms’ Yard Sign Activation are reminiscent of the campaign signs found on private lawns and in public spaces during election season. Rather than promoting particular candidates, the signs each contain a phrase—Freedom From, Freedom Of, Freedom To, or Freedom For—which members of the public are invited to complete by writing on the signs.
FOR FREEDOMS
For You, if no one else, completed signs will be installed on AAC’s front lawn and displayed, in poster form, in the Jenkins Community Gallery. By completing the signs, participants are invited to consider the importance of Roosevelt’s Four Freedoms to their own lives, contributing their perspective on the rights and freedoms they consider vital to the democratic project.
About the Artist ROXANA ALGER GEFFEN is from New
York City and studied visual art at Columbia College as an undergraduate. She received her MFA in painting from Boston University. She was represented by the Wingspread Gallery in Northeast Harbor, Maine and La Motta Fine Arts in Hartford, CT, and has shown her work nationally and internationally. In 2005, Geffen moved to DC with her husband and children, and in 2013 began her residency at the Arlington Arts Center.
evidence of her need to make things, to spin her anxiety and sorrow into something tangible
ROXANA ALGER GEFFEN
16 YOU, IF NO ONE ELSE¡ Arlington Arts Center
Dissent Collar #9
About the Work The day after the last presidential election, Supreme Court Justice Ruth Bader Ginsburg wore her “Dissent Collar” with her robes. Justice Ginsburg has many different collars that she wears and her “Dissent Collar” is the one she wears when reading a dissenting opinion. Wearing it as a statement of political dissent was a gesture that was at once trivial and momentous, funny and serious. Following Ginsburg’s example, artist Roxana Geffen began making her own Dissent Collars. The collars are constructed from material the artist has at hand—like ear
plugs; Swiffer pads; manilla labels; and plastic strapping. After creating them, she posts pictures of herself wearing them to Instagram as her own private gesture of dissent. As the project continued through 2017, some of the collars grew into breastplates, aprons, or even capes. They have also become increasingly difficult to wear. Rather than thinking of the collars as statements, the artist understands them as residue, evidence of her need to make things, to spin her anxiety and sorrow into something tangible.
ROXANA ALGER GEFFEN
About the Artist ASHLEY MINNER is a community-based
inspired by kinship traced through generations
ASHLEY MINNER
18 YOU , IF NO ONE ELSE ¡ Arlington Arts Center
visual artist, folklorist, and storyteller from Baltimore, Maryland. A member of the Lumbee Tribe of North Carolina, she has been active in the Baltimore Lumbee community for many years. Ashley holds a BFA in General Fine Art, an MA and an MFA in Community Art, which she earned at Maryland Institute College of Art. She is currently a PhD candidate in the Department of American Studies at the University of Maryland College Park, where she is studying relationships between place and identity. She is most inspired by the beauty of everyday people.
Tonya
About the Work The Exquisite Lumbees series originates in Ashley Minner’s understanding of the community she grew up in, the Lumbee community of East Baltimore. It comes from curly-headed youngns, country talk, soul food, and hip hop; from Sunday School, homemade tattoos, and row homes. It comes from culture, class, eagle feathers, stories about knife fights told on stoops and laughter
in the street. It is inspired by kinship traced through generations and a ‘meanness’ that makes members of the community cousins and mutual protectors. Minner tries to depict her people in ways that are both honest and in the ways that they want to be seen: with honor and respect.
ASHLEY MINNER
evolving social norms, distance, reunion, birth, and loss can all impact the definition of family About the Artist DANA OLLESTAD is a multi-media artist, curator, and educator currently based in Richmond,
Virginia. His work presents seemingly simple gestures that facilitate experience and encounter, using the participation of the audience or subjects to create open-ended structures that may be influenced, but never fully controlled. He is a recipient of the VMFA Professional Fellowship, founder of a community-based Super 8mm filmmaking workshop, and is a co-curator at Sediment Arts Gallery in Richmond, Virginia. He currently teaches time-based art at Virginia Commonwealth University and the University of Virginia.
DANA OLLESTAD
20 YOU, IF NO ONE ELSE ¡ Arlington Arts Center
Family Stories
About the Work In the video Family Stories, Dana Ollestad captures several Richmond-area families discussing their own family histories and the ways they define family in 2016. The resulting video work explores the composition and definition of family, including the ways that evolving social norms, distance, reunion, birth, and loss can all impact the definition of family. Family Stories celebrates both unique
historic moments that create families and also the more mundane moments that are part of the fabric of family-hood. Families share their stories of tragic loss and movement forward, of immigration and separation, of racial segregation, of permanence and history, as well as the ways that historic political milestones, like the legalization of same-sex marriage, can alter the course of families.
DANA OLLESTAD
About the Artists JON RUBIN is an interdisciplinary artist who creates interventions into public life that re-
imagine individual, group, and institutional behavior. He has exhibited at The Guggenheim Museum; The San Francisco Museum of Modern Art; The Mercosul Biennial, Brazil; The Shanghai Biennial; The Museum of Contemporary Art, Denver; The Center for Curatorial Studies at Bard, New York; The Museo Tamayo Arte Contemporaneo, Mexico; The Rooseum, Sweden; Parkinggallery, Tehran, Iran; as well as in backyards, living rooms, and street corners. Jon is Graduate Director in the School of Art at Carnegie Mellon University. LEE WALTON is an Experientialist with an expanded practice that includes drawing,
performance, event structures, and new media. Walton employs systems of chance, mapping, sport, humor and participatory situations to question cultural patterns and invert power structures. He has been commissioned by museums, institutions and cities, both nationally and internationally, to create exhibitions, lecture, and lead participatory public events. His work on paper is represented by Kraushaar Galleries in New York, NY. Walton is an Associate Professor of Art and Director of Interdisciplinary Art and Social Practice at the University of North Carolina at Greensboro.
JON LEE + RUBIN WALTON
22 YOU, IF NO ONE ELSE¡ Arlington Arts Center
When the World’s on Fire
site of musical protests and political gatherings for over 200 years About the Work Every day for thirty days, from noon to 2pm, two American Revolutionary War band members wandered Boston’s historic Cambridge Common and the surrounding city streets playing contemporary protest songs. Cambridge Common was the site where George Washington first assumed command over the Continental Army in 1775 as well as the site of musical protests and political gatherings over 200 years later.
The title, When the World’s on Fire refers to Woody Guthrie’s “This Land is Your Land,” which he wrote in response to Irving Berlin’s “God Bless America.” Guthrie’s socialist anthem was set to the tune of an apocalyptic gospel song called “When the World’s on Fire” recorded in 1930 by the Carter family. The Carter family themselves based/stole their song from a Baptist Gospel Hymn, “Oh, my Loving Brother.”
JON RUBIN + LEE WALTON
About the Artist DANIELLE A. SCRUGGS is a photographer, photo editor, and writer from Chicago living and
working in Washington, DC. Her editorial and commercial work has appeared in TASTE, The Washington Post, On She Goes, Chicago Reader, NPR, Ebony, Greenpeace USA, Detour, Complex Media, and Buzzfeed. Her personal work, which includes photography, text, and installation, explores the various ways one can navigate, shape, and take up physical and psychic space, and how this leads to the construction of the self. She has exhibited her work at Flashpoint Gallery, the Center for Photography at Woodstock, A.I.R. Gallery, Arlington Arts Center, the National Institutes of Health, Roman Susan Gallery, and the Los Angeles Center for Digital Art.
important to document some of the most vulnerable populations in her hometown
DANIELLE A. SCRUGGS
24 YOU, IF NO ONE ELSE ¡ Arlington Arts Center
Chance the Rapper, Grant Park, Chicago, November 7, 2016
About the Work Portrait of a westside polling place, Parade to the Polls, and Latinx vote with apathy and trepidation are a series of photos Danielle A. Scruggs made while she was the photo director at the Chicago Reader newspaper. In the run-up to Election Day 2016, it was important to her to document some of the most vulnerable populations in her hometown — Black and Latinx communities on the city’s West Side. Scruggs purposefully wanted to include these
communities including Austin, Garfield Park, and Little Village because they are too often left out of conversations about Chicago. Parade to the Polls was a significant event for her to document as it was led by Chance the Rapper, a hip-hop artist from the Chatham neighborhood on Chicago’s South Side who has been using his platform to draw attention to important social causes.
DANIELLE A. SCRUGGS
Let Them Eat Cake
Wyatt Resident Artists Gallery | The More Things Change
About the Work Michèle Colburn’s content-driven work explores themes of a socio-political nature that often address domestic terrorism, war and the costs associated with both. A multidisciplinary artist, Colburn makes mixedmedia objects with forays more recently into endurance performance on the streets as part of her oeuvre. Materials such as gunpowder, spent bullet casings and vintage surplus military trip wire make appearances in her
two and three-dimensional works. With a nod to POP and notions of consumerism, these materials are transformed by the artist’s hand and process, rendered useless, but bring clear associations to the work itself. In The More Things Change, Colburn reflects on her upbringing during the Vietnam War and the current political climate, drawing parallels regarding leaders, violence, uncertainty, and conversely the need for escape.
MICHÈLE COLBURN
About the Artist MICHÈLE COLBURN is a Washington, DC-based artist and native Washingtonian. She works
in multi-media and makes work in both two and three dimensions. Her practice focuses on creating works that address political and social concerns, both national and global. Her work has been exhibited in DC, New York, Boston, Philadelphia, Denver and Los Angeles, and is in numerous private collections throughout the US. She earned a BA in Art History from Franklin and Marshall College in Pennsylvania, and an MFA from American University in 2012. She has worked in the arts and cultural arenas for the better part of 16 years including for the Hirshhorn and Whitney Museums of Art and is currently an Adjunct Professor in the DC metro area. She also teaches for Arlington Arts Center. She is represented by Charles Krause Reporting Fine Art, in Washington, DC.
MICHÈLE COLBURN
WYATT RESIDENT ARTISTS GALLERY · Arlington Arts Center 27
Exhibitions You, if no one else | Main & Lower Level Galleries January 20 – March 31, 2018 Michèle Colburn: The More Things Change | Wyatt Resident Artists Gallery
January 20 – March 31, 2018
Classes & Workshops Weekly Classes for Toddlers, Kids, Teens, & Adults
February 3 – April 18
Ink & the Figure Workshop for Teens
January 27 & February 3
Introduction to Oil Painting Workshop for Teens
March 10 & March 17
Valentine’s Card-Making Workshop for Adults
February 6
Memory Books Workshop for Adults
March 20
Spring Break Escape Camp for Kids
March 26 – March 30
Advance registration is required For more information about our classes and to register online visit us at www.arlingtonartscenter.org Tino Villanueva. “You, if no one else.” In Chronicle of My Worst Years/Cr6nica de mis anos peores. Evanston: TriQuarterly Books/ Northwestern University Press, 1994. Cronica de mis afws peores was first published in 1987 in slightly different form by Lalo Press, La Jolla, California. Copyright© 1987, 1994 by Tino Villanueva. Translation and afterword copyright© 1994 by James Hoggard. Chronicle of My Worst Years/Cronica de mis aiios peores published 1994 by Northwestern University Press/TriQuarterly Books. All rights reserved.
28 ABOUT AAC · Arlington Arts Center
Hours & Location Arlington Arts Center is open Wednesday - Sunday, 12 - 5 pm and by appointment. Metro: Silver & Orange Lines: Virginia Square 3550 Wilson Boulevard Arlington, VA 22201 703.248.6800 For more info about AAC visit: www.arlingtonartscenter.org
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, working studios for twelve artists, and three classrooms. At 17,000 square feet, we are one of the largest non-federal venues for contemporary art in the Washington, DC metropolitan area.
Staff EXECUTIVE DIRECTOR Holly Koons McCullough / director@arlingtonartscenter.org EDUCATION & OUTREACH MANAGER Samantha Marques-Mordkofsky / education@arlingtonartscenter.org INTERIM EXHIBITIONS MANAGER 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 Virginia Commission for the Arts/ NEA; Arlington County through the Arlington Cultural Affairs division of Arlington Economic Development, the Arlington Commission for the Arts and Arlington Public Art; The Morris & Gwendolyn Cafritz Foundation; The Washington Forrest Foundation; The Arlington Community Foundation; Founders of the Fund Your Artist Vision; and AAC members.
VIRGINIA SQUARE • 3550 WILSON BLVD • ARLINGTON, VA ARLINGTONARTSCENTER.ORG • 703.248.6800