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HEART OF DC John A.Wilson Building CITY HALL ART COLLECTION
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Š 2006, DC Commission on the Arts and Humanities. All trademarks are property of their respective owners. DC Creates Public Art Program is an endeavor of the DC Commission on the Arts and Humanities.
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HEART OF DC John A.Wilson Building CITY HALL ART COLLECTION
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I N T R O D U C T I O N | HeART of DC
Sondra N. Arkin, Curator October 31, 2006
In 2006, the DC Creates Public Art Program through the DC Commission on the Arts and Humanities acquired 153 works of art representing 100 Metropolitan area artists for the inaugural phase of the City Hall Art Collection. Installed
From the Mayor Anthony A. Williams
It is with great pride that I invite you to view the new City Hall Art Collection in the John A. Wilson Building. With the installation of this artwork, we can now say that the Councilmembers and the Mayor have completely settled into our new space at the Wilson Building. With art on the walls, it feels more like home. At first glance, politics and art may seem like improbable partners. But in a city that houses some of
in the John A. Wilson Building, the collection is now open
the greatest art collections and museums in the world, along with the Federal and the District
to the public.
governments, it is a perfect marriage. Public art has the power to change our daily experience and turn public space into a more social place to live, learn, and grow. Art in the workplace helps to
We must thank all of the artists who submitted their work for
spark creativity and increase productivity. Bringing art into our workplace will bring visitors into our City Hall, and it will strengthen our community.
consideration. The high quality of the submissions made the selection panel’s decision of what to include extremely difficult.
More than just ornamental, the City Hall Art Collection will demonstrate the compassionate side of politics as well as promote the creations of a highly artistic community.
The result is an exhibition with a range and quality illustrative of our city’s culture and art history. Though the art speaks for itself, the essays in this guide will help put the collection into context. Use them to draw your
With the unveiling of this new, permanent collection comprised of work by local artists, the District of Columbia joins many other municipalities in building a dynamic and inviting environment through which residents and visitors may experience the cultural wealth of the community. By placing this diverse collection in the HeART of Washington, DC, visitors to our city can now include the landmark John A. Wilson Building as a destination.
own conclusions, for discussion, and to find your own deeper connections between the art and your experience.
Anthony A. Williams Mayor, District of Columbia
We hope you will be as delighted as we were to make this journey. The guiding premise of the collection is excellence and the work included can stand beside anything you will see in our national museums. Of this, we could not be prouder. HEART OF DC
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I N T R O D U C T I O N | HeART of DC
Sondra N. Arkin, Curator October 31, 2006
In 2006, the DC Creates Public Art Program through the DC Commission on the Arts and Humanities acquired 153 works of art representing 100 Metropolitan area artists for the inaugural phase of the City Hall Art Collection. Installed
From the Mayor Anthony A. Williams
It is with great pride that I invite you to view the new City Hall Art Collection in the John A. Wilson Building. With the installation of this artwork, we can now say that the Councilmembers and the Mayor have completely settled into our new space at the Wilson Building. With art on the walls, it feels more like home. At first glance, politics and art may seem like improbable partners. But in a city that houses some of
in the John A. Wilson Building, the collection is now open
the greatest art collections and museums in the world, along with the Federal and the District
to the public.
governments, it is a perfect marriage. Public art has the power to change our daily experience and turn public space into a more social place to live, learn, and grow. Art in the workplace helps to
We must thank all of the artists who submitted their work for
spark creativity and increase productivity. Bringing art into our workplace will bring visitors into our City Hall, and it will strengthen our community.
consideration. The high quality of the submissions made the selection panel’s decision of what to include extremely difficult.
More than just ornamental, the City Hall Art Collection will demonstrate the compassionate side of politics as well as promote the creations of a highly artistic community.
The result is an exhibition with a range and quality illustrative of our city’s culture and art history. Though the art speaks for itself, the essays in this guide will help put the collection into context. Use them to draw your
With the unveiling of this new, permanent collection comprised of work by local artists, the District of Columbia joins many other municipalities in building a dynamic and inviting environment through which residents and visitors may experience the cultural wealth of the community. By placing this diverse collection in the HeART of Washington, DC, visitors to our city can now include the landmark John A. Wilson Building as a destination.
own conclusions, for discussion, and to find your own deeper connections between the art and your experience.
Anthony A. Williams Mayor, District of Columbia
We hope you will be as delighted as we were to make this journey. The guiding premise of the collection is excellence and the work included can stand beside anything you will see in our national museums. Of this, we could not be prouder. HEART OF DC
|
3
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Letter from the DC Commission on the Arts and Humanities
SPEND SOME TIME IN
It is our pleasure to introduce you to our new City Hall Art Collection. This collection features
OUR CITY HALL AND VIEW
work from area artists and showcases the extent and depth of Washington, DC’s art tradition. Over 10
THE ART COLLECTION.
percent of the selected artists were born in the District, and most have lived here for over 20 years. The collection is truly a cross-section of the area’s excellent visual talent.
YOU WILL DISCOVER THE DIVERSE, VIBRANT, AND
The John A. Wilson Building — popularly known as the District Building from its construction in
CREATIVE COMMUNITY
1904-1908 until it was renamed in 1994 — houses the offices of the Mayor and the City Council. It is
THAT IS WASHINGTON, DC.
named to honor John A. Wilson, former Chair of the City Council and Councilmember of Ward 2 for 12 years. Designed in the classical Beaux Arts style, the building was renovated in the late 1990’s to become a modern office building for the government of the District of Columbia. The John A. Wilson Building is the City Hall of the Capital of the United States. In these halls deliberations take place in the democratic tradition. Here the Mayor, City Council, and other civic leaders diligently work to shape the future of our great city. Like the best of the District, the Wilson Building stands strong, dignified, and welcoming. While functional, it is also reflective of our city’s character — its spirit, history, and aspirations. Public art is a crucial component of our city’s planning and infrastructure. It has the power to communicate, document, and transform. With the installation of this collection, we fulfill an important objective of our agency’s mission: to celebrate and bring art to people. Spend some time in our City Hall and view the art collection. You will discover the diverse, vibrant, and creative community that is Washington, DC.
Anthony Gittens Executive Director DC Commission on the Arts and Humanities
Dorothy Pierce McSweeny Chair DC Commission on the Arts and Humanities
Simon Gouverneur | Two-Toe, egg tempera/acrylic/canvas | 61" x 61"
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Letter from the DC Commission on the Arts and Humanities
SPEND SOME TIME IN
It is our pleasure to introduce you to our new City Hall Art Collection. This collection features
OUR CITY HALL AND VIEW
work from area artists and showcases the extent and depth of Washington, DC’s art tradition. Over 10
THE ART COLLECTION.
percent of the selected artists were born in the District, and most have lived here for over 20 years. The collection is truly a cross-section of the area’s excellent visual talent.
YOU WILL DISCOVER THE DIVERSE, VIBRANT, AND
The John A. Wilson Building — popularly known as the District Building from its construction in
CREATIVE COMMUNITY
1904-1908 until it was renamed in 1994 — houses the offices of the Mayor and the City Council. It is
THAT IS WASHINGTON, DC.
named to honor John A. Wilson, former Chair of the City Council and Councilmember of Ward 2 for 12 years. Designed in the classical Beaux Arts style, the building was renovated in the late 1990’s to become a modern office building for the government of the District of Columbia. The John A. Wilson Building is the City Hall of the Capital of the United States. In these halls deliberations take place in the democratic tradition. Here the Mayor, City Council, and other civic leaders diligently work to shape the future of our great city. Like the best of the District, the Wilson Building stands strong, dignified, and welcoming. While functional, it is also reflective of our city’s character — its spirit, history, and aspirations. Public art is a crucial component of our city’s planning and infrastructure. It has the power to communicate, document, and transform. With the installation of this collection, we fulfill an important objective of our agency’s mission: to celebrate and bring art to people. Spend some time in our City Hall and view the art collection. You will discover the diverse, vibrant, and creative community that is Washington, DC.
Anthony Gittens Executive Director DC Commission on the Arts and Humanities
Dorothy Pierce McSweeny Chair DC Commission on the Arts and Humanities
Simon Gouverneur | Two-Toe, egg tempera/acrylic/canvas | 61" x 61"
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C O L O R | Abstraction Six Degrees of Abstraction Johanna Halford-MacLeod
In our region, color and abstraction conjure up the vivid abstract paintings made in the sixties and seventies by artists of the Washington Color School: Morris Louis’s transparent veils of poured color stained into unprimed canvases; the hard-edged stripes favored by Gene Davis; the color combinations that energized Kenneth Noland’s target paintings; or in a different vein, the lyricism of Sam Gilliam’s free-form, shape-shifting “drapes” that marked the start of his distinguished career as a maker of three-dimensional paintings. The group of works assembled under the heading of Color and Abstraction for the City Hall Art Collection at the John A. Wilson Building are a reminder that, more than thirty years on, abstract art is still vibrantly alive in this city.
Tom Green | In Red, acrylic/canvas | 41" x 77"
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Color/Abstraction
There are degrees of abstraction just as there are many ways to draw comparisons between works. Works like Untitled 1 (Improvisation), Benjamin Abramowitz’s gorgeously colored gestural watercolor, or Ramon Menocal’s delicately layered, smoky, and transparent Radiografia #2, do not represent objects in the world. The same applies to Ellyn Weiss’s beautiful composition, Twelve Linear Feet, Steven Cushner’s Two Way Street, Rex Weil’s
DIRECTOR OF PUBLICATIONS, THE PHILLIPS COLLECTION
splatty, loopy Fast and Bulbous, Joanne Kent’s Spontaneous Combustion or Felrath Hines’s monotype, Windows, their titles notwithstanding. But all art tends to start somewhere in the real world, and sometimes allusions to these real world origins seem clear. Pat Goslee’s thickly painted, Catch of the Day, for example. Goslee paints in layers of sumptuously colored encaustic, creating a strong sense of depth. From below, biomorphic forms emerge, bulging through the web of paint, simultaneously suggesting marine depths and still life. Karen Hubacher’s Habitat I, a collograph of overlapping weathered planes, is not a cityscape, but it has a layered walled quality. The square, gridded white “window” surrounded by rectangles of blue, yellow and green assumes a position of importance, drawing our attention and suggesting a luminous interior haven. Indeed, Hubacher says she is intrigued by what shapes the human need for shelter, sanctuary, and refuge. Jacob Kainen observed that what started out as the aesthetic balancing of forms in his work was soon taken over by the psychological ghosts of mental imagery. The title of his etching, Dr. Mabuse, invites us to see in the relationship of its dark bold shapes a gaming
Mark Cameron Boyd No Way To Convey mixed media/wood 23 ₃/₄" x 23 ₃/₄"
Color/Abstraction H E A R T O F D C
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C O L O R | Abstraction Six Degrees of Abstraction Johanna Halford-MacLeod
In our region, color and abstraction conjure up the vivid abstract paintings made in the sixties and seventies by artists of the Washington Color School: Morris Louis’s transparent veils of poured color stained into unprimed canvases; the hard-edged stripes favored by Gene Davis; the color combinations that energized Kenneth Noland’s target paintings; or in a different vein, the lyricism of Sam Gilliam’s free-form, shape-shifting “drapes” that marked the start of his distinguished career as a maker of three-dimensional paintings. The group of works assembled under the heading of Color and Abstraction for the City Hall Art Collection at the John A. Wilson Building are a reminder that, more than thirty years on, abstract art is still vibrantly alive in this city.
Tom Green | In Red, acrylic/canvas | 41" x 77"
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Color/Abstraction
There are degrees of abstraction just as there are many ways to draw comparisons between works. Works like Untitled 1 (Improvisation), Benjamin Abramowitz’s gorgeously colored gestural watercolor, or Ramon Menocal’s delicately layered, smoky, and transparent Radiografia #2, do not represent objects in the world. The same applies to Ellyn Weiss’s beautiful composition, Twelve Linear Feet, Steven Cushner’s Two Way Street, Rex Weil’s
DIRECTOR OF PUBLICATIONS, THE PHILLIPS COLLECTION
splatty, loopy Fast and Bulbous, Joanne Kent’s Spontaneous Combustion or Felrath Hines’s monotype, Windows, their titles notwithstanding. But all art tends to start somewhere in the real world, and sometimes allusions to these real world origins seem clear. Pat Goslee’s thickly painted, Catch of the Day, for example. Goslee paints in layers of sumptuously colored encaustic, creating a strong sense of depth. From below, biomorphic forms emerge, bulging through the web of paint, simultaneously suggesting marine depths and still life. Karen Hubacher’s Habitat I, a collograph of overlapping weathered planes, is not a cityscape, but it has a layered walled quality. The square, gridded white “window” surrounded by rectangles of blue, yellow and green assumes a position of importance, drawing our attention and suggesting a luminous interior haven. Indeed, Hubacher says she is intrigued by what shapes the human need for shelter, sanctuary, and refuge. Jacob Kainen observed that what started out as the aesthetic balancing of forms in his work was soon taken over by the psychological ghosts of mental imagery. The title of his etching, Dr. Mabuse, invites us to see in the relationship of its dark bold shapes a gaming
Mark Cameron Boyd No Way To Convey mixed media/wood 23 ₃/₄" x 23 ₃/₄"
Color/Abstraction H E A R T O F D C
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table and the menace of Fritz Lang’s movie. In David Yerkes’s Doors, tantalizing gaps between angled, vertical panels of rich color and the band of brushy marks at the top of the composition suggest real space, in front of and behind the panels.
Jacob Kainen (TOP) Dr. Mabuse, etching | 19 ₃/₄" x 16" (RIGHT) Blue Cocoon, etching | 19 ₃/₄" x 25 ₃/₄"
Abstraction does not necessarily entail fields of color, the blurring or elimination of edges, or the reduction of forms. Instead, it may be, as it is for artists like Simon Gouverneur, Tom Green, Mark Cameron Boyd, and Richard L. Dana, the abstraction of language and pattern rather than brushstrokes. Gouverneur focused his attention on hidden worlds, diagramming ultimate truths in meticulously executed paintings like Two-Toe. In it, an intense pattern of carefully ordered symbols, numbers, and shapes snakes around in an infinite spiral suggesting the spinning cosmos of Jewish mysticism. There are no accidents in a painting of this kind. Beautiful and mysterious, it beguiles the viewer with its promise of occult meaning, much as the artist must have been seduced by the secrets he glimpsed beyond our everyday world. Unlike Gouverneur, who planned his work down to the last detail, Green says he has no idea what the final image of a painting like In Red will look like when he starts. Although he executes them as though writing a letter, working from left to right and from top to bottom, he assigns no specific meanings to his Asian-style ideographs, likening In Red to “‘scat singing,’ another non-verbal means of expression.” Richard L. Dana’s Noise/Silence uses abstract, wordless, figure-ground reversal to express a concept. By contrast, Mark Cameron Boyd’s No Way to Convey, which looks like elegant Arab
calligraphy on a tattered handbill, is written in English and is actually a palimpsest of one of Boyd’s own texts on art. Other artists eschew the specificity of symbols and revelations in favor of a kind of abstraction that parallels the repetition of meditation. In John M. Adams’ panels, all slightly smaller than a sheet of letter paper, horizontal lines on a dark ground create a humming background rhythm to which patches of cloudy white and blue adhere like a section of the Milky Way. The result is a visualization of an emptied mind against a background of measured breathing. Andy Moon Wilson’s Vaulted takes an architectural motif as a point of departure, the all-over repetition of the pattern functioning like a kind of visual mantra. Robin Rose’s translucent monoprints, a product of a complex printmaking process, seem to have no surface, only a tremendous yellow depth above which delicate
striations undulate at regular intervals, reminiscent of hairs and water in Japanese prints and paintings. Indeed, the influence of Asian art is visible in many of the abstract works. Gini Alter’s Zazen I acknowledges Japanese sources in its calligraphic marks, subtle and subdued palette, the inclusion of rice paper in its materials, as well as its title, a reminder that Buddhism is part of this country’s spiritual mainstream. For Alter, influenced she says, by silence, light, and meditation, “painting is meditation. Meditation is painting.” Japanese influence is clear too in the delicate washes of color and thready lines in Maggie Michael’s beautiful but disturbing Phantom, an ambiguous image that suggests in equal parts the spirit world, bruised flesh, and landscape.
Felrath Hines (LEFT) Open Ended monotype 18" x 24" Benjamin Abramowitz (RIGHT) Untitled (1) improvisation watercolor 20" x 30"
Other abstractions seem to take off from scientific and technical material. Katurah L. Thomas’s
Color/Abstraction
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table and the menace of Fritz Lang’s movie. In David Yerkes’s Doors, tantalizing gaps between angled, vertical panels of rich color and the band of brushy marks at the top of the composition suggest real space, in front of and behind the panels.
Jacob Kainen (TOP) Dr. Mabuse, etching | 19 ₃/₄" x 16" (RIGHT) Blue Cocoon, etching | 19 ₃/₄" x 25 ₃/₄"
Abstraction does not necessarily entail fields of color, the blurring or elimination of edges, or the reduction of forms. Instead, it may be, as it is for artists like Simon Gouverneur, Tom Green, Mark Cameron Boyd, and Richard L. Dana, the abstraction of language and pattern rather than brushstrokes. Gouverneur focused his attention on hidden worlds, diagramming ultimate truths in meticulously executed paintings like Two-Toe. In it, an intense pattern of carefully ordered symbols, numbers, and shapes snakes around in an infinite spiral suggesting the spinning cosmos of Jewish mysticism. There are no accidents in a painting of this kind. Beautiful and mysterious, it beguiles the viewer with its promise of occult meaning, much as the artist must have been seduced by the secrets he glimpsed beyond our everyday world. Unlike Gouverneur, who planned his work down to the last detail, Green says he has no idea what the final image of a painting like In Red will look like when he starts. Although he executes them as though writing a letter, working from left to right and from top to bottom, he assigns no specific meanings to his Asian-style ideographs, likening In Red to “‘scat singing,’ another non-verbal means of expression.” Richard L. Dana’s Noise/Silence uses abstract, wordless, figure-ground reversal to express a concept. By contrast, Mark Cameron Boyd’s No Way to Convey, which looks like elegant Arab
calligraphy on a tattered handbill, is written in English and is actually a palimpsest of one of Boyd’s own texts on art. Other artists eschew the specificity of symbols and revelations in favor of a kind of abstraction that parallels the repetition of meditation. In John M. Adams’ panels, all slightly smaller than a sheet of letter paper, horizontal lines on a dark ground create a humming background rhythm to which patches of cloudy white and blue adhere like a section of the Milky Way. The result is a visualization of an emptied mind against a background of measured breathing. Andy Moon Wilson’s Vaulted takes an architectural motif as a point of departure, the all-over repetition of the pattern functioning like a kind of visual mantra. Robin Rose’s translucent monoprints, a product of a complex printmaking process, seem to have no surface, only a tremendous yellow depth above which delicate
striations undulate at regular intervals, reminiscent of hairs and water in Japanese prints and paintings. Indeed, the influence of Asian art is visible in many of the abstract works. Gini Alter’s Zazen I acknowledges Japanese sources in its calligraphic marks, subtle and subdued palette, the inclusion of rice paper in its materials, as well as its title, a reminder that Buddhism is part of this country’s spiritual mainstream. For Alter, influenced she says, by silence, light, and meditation, “painting is meditation. Meditation is painting.” Japanese influence is clear too in the delicate washes of color and thready lines in Maggie Michael’s beautiful but disturbing Phantom, an ambiguous image that suggests in equal parts the spirit world, bruised flesh, and landscape.
Felrath Hines (LEFT) Open Ended monotype 18" x 24" Benjamin Abramowitz (RIGHT) Untitled (1) improvisation watercolor 20" x 30"
Other abstractions seem to take off from scientific and technical material. Katurah L. Thomas’s
Color/Abstraction
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Ellen Hill (LEFT) Fallen (RIGHT) Blue Egg, paper pulp painting 29₁/₂" x 30"
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Zebra Swim, and Ellen Hill’s Blue Egg suggest cartographic displays. Thomas was, in fact, inspired by satellite photographs. John R. Grunwell’s vibrantly colored Untitled Rectangle, while not depicting anything, has the look of a very high altitude view of the world at night, as well as affinities with Australian aboriginal dot paintings. James Huckenpahler’s digital print, Untitled, simultaneously succulently fleshy and metallically hard, explores the peaks and valleys of a virtual object at the same time as suggesting the topography of something organic. Working at a cellular level, Yuriko Yamaguchi makes art that reflects a passion for ecology. Her lithograph, Web Desire, translates into two dimensions one of her sculptures, Web #4, comprising hundreds of connected “pods” that she made in a repetitive process using wire, abaca, and flax. Michele Marie Banks’s Pink Variations, bursts
Color/Abstraction
of color set within the confines of a strict grid, suggests a work of scientific classification. Finally, Laurel Farrin’s intriguing Polka presents two black, fuzzy-edged forms at a pivotal moment. Against the pink-stained, light-filled background, they look like two cells about to fuse. It may be that when you look at these works, you find different relationships and interpretations than those offered here. Abstract art might satisfy you in deep ways that you cannot explain — a group of colors may please, an arrangement of shapes may intrigue. However you react to the work in this collection, you will find an invigorating selection from the community of artists that surrounds us.
Steven Cushner Two Way Street, watercolor 30 ₁/₈" x 22 ₁/₂" Michele Marie Banks Pink Variations (BOTTOM) Blue Variations watercolor | 36" x 24" (TOP)
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Ellen Hill (LEFT) Fallen (RIGHT) Blue Egg, paper pulp painting 29₁/₂" x 30"
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Zebra Swim, and Ellen Hill’s Blue Egg suggest cartographic displays. Thomas was, in fact, inspired by satellite photographs. John R. Grunwell’s vibrantly colored Untitled Rectangle, while not depicting anything, has the look of a very high altitude view of the world at night, as well as affinities with Australian aboriginal dot paintings. James Huckenpahler’s digital print, Untitled, simultaneously succulently fleshy and metallically hard, explores the peaks and valleys of a virtual object at the same time as suggesting the topography of something organic. Working at a cellular level, Yuriko Yamaguchi makes art that reflects a passion for ecology. Her lithograph, Web Desire, translates into two dimensions one of her sculptures, Web #4, comprising hundreds of connected “pods” that she made in a repetitive process using wire, abaca, and flax. Michele Marie Banks’s Pink Variations, bursts
Color/Abstraction
of color set within the confines of a strict grid, suggests a work of scientific classification. Finally, Laurel Farrin’s intriguing Polka presents two black, fuzzy-edged forms at a pivotal moment. Against the pink-stained, light-filled background, they look like two cells about to fuse. It may be that when you look at these works, you find different relationships and interpretations than those offered here. Abstract art might satisfy you in deep ways that you cannot explain — a group of colors may please, an arrangement of shapes may intrigue. However you react to the work in this collection, you will find an invigorating selection from the community of artists that surrounds us.
Steven Cushner Two Way Street, watercolor 30 ₁/₈" x 22 ₁/₂" Michele Marie Banks Pink Variations (BOTTOM) Blue Variations watercolor | 36" x 24" (TOP)
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PRINTING A COLLOGRAPH To make a collograph print, Hubacher constructs a plate of glued-on elements (collage), applies ink into the crevices, and wipes the surface for the desired effect. The plate is then printed on damp paper with an etching press, which embosses the paper with the collaged elements. Experimenting with ink variations becomes a major part of the process. Due to the inking procedure and the inherent fragility of the collaged plate, an edition of 25 prints is usually the maximum. Each print is an original, hand-inked and handpulled by the artist.
David N. Yerkes | Doors, mixed media | 40" x 30"
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Color/Abstraction
David N. Yerkes | Green Stripe, mixed media | 40" x 30"
Karen Hubacher | collograph | 10" x 10" (TOP LEFT) Habitat II 17/25 (TOP RIGHT) Habitat I 18/25 (BOTTOM LEFT) Refuge II 18/25 (BOTTOM RIGHT) Refuge I 20/25
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PRINTING A COLLOGRAPH To make a collograph print, Hubacher constructs a plate of glued-on elements (collage), applies ink into the crevices, and wipes the surface for the desired effect. The plate is then printed on damp paper with an etching press, which embosses the paper with the collaged elements. Experimenting with ink variations becomes a major part of the process. Due to the inking procedure and the inherent fragility of the collaged plate, an edition of 25 prints is usually the maximum. Each print is an original, hand-inked and handpulled by the artist.
David N. Yerkes | Doors, mixed media | 40" x 30"
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Color/Abstraction
David N. Yerkes | Green Stripe, mixed media | 40" x 30"
Karen Hubacher | collograph | 10" x 10" (TOP LEFT) Habitat II 17/25 (TOP RIGHT) Habitat I 18/25 (BOTTOM LEFT) Refuge II 18/25 (BOTTOM RIGHT) Refuge I 20/25
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Richard L. Dana Noise/Silence, mixed media/paper 14" x 22" John N. Grunwell Untitled Rectangle, acrylic/paint pen/canvas 36" x 24"
Maggie Michael | Phantom, mixed media/canvas | 46" x 64"
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Richard L. Dana Noise/Silence, mixed media/paper 14" x 22" John N. Grunwell Untitled Rectangle, acrylic/paint pen/canvas 36" x 24"
Maggie Michael | Phantom, mixed media/canvas | 46" x 64"
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WHAT IS ENCAUSTIC? Encaustic, a painting medium in which pigment is suspended in a binder of hot wax, has been dated to as early as the 4th century B.C. Some encaustic paintings from 100-125 A.D. survive today in the form of wax portraits set into mummy casings from Greco-Roman Egypt. To prepare encaustic, artists melt beeswax Pat Goslee Catch of the Day, encaustic/wood | 24" x 24"
and add damar resin, a hardening and stabilizing agent, and then apply the wax to a non-flexible surface. Goslee states, “As with many of my paintings, I am concerned to a great extent with formal issues, building up a sense of depth through thickly impastoed wax textures and rich color. However, the forms that gradually emerge — in this case, biomorphic ones suggestive of marine life or possibly micro-organisms — are a means of emotional expression, rather than an end in and of themselves.”
Ellyn R. Weiss | Twelve Linear Feet, oilbar/pastel/paper | 58" x 144"
Katurah L. Thomas Zebra Swim, acrylic/canvas | 57" x 68"
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WHAT IS ENCAUSTIC? Encaustic, a painting medium in which pigment is suspended in a binder of hot wax, has been dated to as early as the 4th century B.C. Some encaustic paintings from 100-125 A.D. survive today in the form of wax portraits set into mummy casings from Greco-Roman Egypt. To prepare encaustic, artists melt beeswax Pat Goslee Catch of the Day, encaustic/wood | 24" x 24"
and add damar resin, a hardening and stabilizing agent, and then apply the wax to a non-flexible surface. Goslee states, “As with many of my paintings, I am concerned to a great extent with formal issues, building up a sense of depth through thickly impastoed wax textures and rich color. However, the forms that gradually emerge — in this case, biomorphic ones suggestive of marine life or possibly micro-organisms — are a means of emotional expression, rather than an end in and of themselves.”
Ellyn R. Weiss | Twelve Linear Feet, oilbar/pastel/paper | 58" x 144"
Katurah L. Thomas Zebra Swim, acrylic/canvas | 57" x 68"
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Joanne Kent | Spontaneous Combustion, oil/wood | 48" x 48"
James Huckenpahler | Untitled, digital print | 42" x 56"
John M. Adams | oil/acrylic/graphite/birch (top) Sitting Still (#29) | Sitting Still (#25) 10" x 8 ₁/₂"
Color/Abstraction
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Joanne Kent | Spontaneous Combustion, oil/wood | 48" x 48"
James Huckenpahler | Untitled, digital print | 42" x 56"
John M. Adams | oil/acrylic/graphite/birch (top) Sitting Still (#29) | Sitting Still (#25) 10" x 8 ₁/₂"
Color/Abstraction
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Andy Moon Wilson | Vaulted, ink/paper | 11" x 8 ₁/₂"
Robin Rose | Untitled 15, monoprint | 18" x 13" Yuriko Yamaguchi | Web Desire, lithograph | 22" x 30"
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Color/Abstraction
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Andy Moon Wilson | Vaulted, ink/paper | 11" x 8 ₁/₂"
Robin Rose | Untitled 15, monoprint | 18" x 13" Yuriko Yamaguchi | Web Desire, lithograph | 22" x 30"
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Color/Abstraction
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Rex Weil | india ink/paper | 41" x 30" (LEFT) Advance | (RIGHT) Fast & Bulbous
Laurel Farrin Polka, oil/acrylic/canvas | 76" x 65"
Gini Alter Zazen I, acrylic/pencil/rice paper/canvas | 68" x 58"
Color/Abstraction H E A R T O F D C
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Rex Weil | india ink/paper | 41" x 30" (LEFT) Advance | (RIGHT) Fast & Bulbous
Laurel Farrin Polka, oil/acrylic/canvas | 76" x 65"
Gini Alter Zazen I, acrylic/pencil/rice paper/canvas | 68" x 58"
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D I R E C T E D E Y E | Representation The Secret Life Inside the Beltway Jack Rasmussen
DIRECTOR AND CURATOR, AMERICAN UNIVERSITY MUSEUM
While the Washington Color School was the only important 20th-century art movement to claim roots in the nation’s capital, the practical effect of its ascendancy was to divide Washington into abstract and representational camps, with representation taking a back seat. But all along, the Washington art world has had a quirky, representational underbelly — not the academic or Social Realist art we find in most of our public buildings, but a subversive and often funny kind of art. One common characteristic of these Directed Eye artists is their technical mastery, but mastery used more in the service of commenting than recording. The City Hall Art Collection at the John A. Wilson Building has been enriched by the art of many artists working this fertile, often hidden, terrain. “Inside the beltway” isn’t just a place for political commentators, but for artists whose commentary can take a decidedly different way of viewing the world around them. If directed representational art in Washington had a poster child, it would be Joe Shannon. In the 1960s his manic, sometimes erotic paintings of people posing or pratfalling in the art world were the best argument that figurative art was alive, healthy, and relevant. In the ensuing forty years, Shannon has
been doing his best work. Two Poets with Champion is a great example of his vision and wit. Another artist with the ambition and talent to wrestle with large figural compositions is John Winslow. His large metaphorical works, including Sunday at the Ontological Theater, display an exceptional “old master” technique put in the service of exploring and understanding a complicated internal and external reality. A quite different strain of Washington figurative work is represented by Lisa Montag Brotman, The Keymaster, and William A. Newman, Nest Tape 14, who were part of the Washington Color Pencil School in the 1970s — a “school” formed in humorous but pointed opposition to the dominant color “school.” Their impeccable techniques and frankly weird sensibilities offer an alternative history for artists in Washington.
Joe Shannon Two Poets with Champion oil/masonite | 36" x 32₁/₂" John Winslow (LEFT) Sunday at the Ontological Theater, oil/canvas | 54" x 54"
Other artists have incorporated social and political issues in their art by using recognizable imagery and diverse media to drive home their meaning. Two of the best artists of their generation, Michael B. Platt and Renée Stout, address issues of race, gender, and
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William A. Newman Nest Tape 14, oil/wood 8" x 18"
Bridget Sue Lambert There’s Still a Chance You Can Find It pigment print 31" x 40"
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class with an elegance that sharpens their point. Michal Hunter, Roderick Turner, Kevin Holder, Alexandra Huttinger and Judy Jashinsky have mastered traditional techniques to create evocative paintings of real people — scenes and portraits that are meant to be both specific and universal.
Not all of the art grouped in this section shows overt humor. But on close inspection it is precisely the artist’s ability to observe the world in a unique way that makes similarities between the oddly compelling work of Andrew Wodzianski, Georgia Deal, Maremi Hooff, and Billy Colbert.
Photographers have also created provocative images of Washington and its inhabitants. Max Hirshfeld, Robert Kairy, Washington, DC, shows us another Washington — not the Federal City but the city of neighborhoods and characters full of life and drama. Without the staging, Prescott Moore Lassman and Harlee Little depict people inside churches and jazz clubs. Bridget Sue Lambert, on the other hand, cuts the Federal City down to size. There’s Still a Chance You Can Find It shows miniaturized individuals rushing from place to place.
The works gathered under the Directed Eye category make it clear you don’t have to go outside the District to have some fun or find real people. The secret life of the city is revealed in the work of its artists — and the secret is that Washington, DC has a sense of humor. If it is true that once we stop taking ourselves so seriously our spirit begins to shine, then these artists are beacons of our humanity.
Directed Eye
Alexandra Huttinger | linoleum print James D. Johnson | 6₁/₂" x 4" Anne Maddox | 4" x 6₁/₄" Angie Garrett | 5₁/₂" x 3₁/₂" (MIDDLE) Betty Simmons | 6 ₃/₄" x 4₁/₄" Essex Henry | 4" x 5 ₃/₄" Samuel Dilbers | 3₁/₂" x 4₁/₂" (BOTTOM) Sarah Gudger | 5₁/₄" x 4" W.L. Bost | 4" x 5" Mary Armstrong | 6" x 4" (LEFT TO RIGHT, TOP)
Michael B. Platt (TOP) The Calloways #4 (BOTTOM) The Calloways #5 lithograph/mixed media print 19" x 13"
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William A. Newman Nest Tape 14, oil/wood 8" x 18"
Bridget Sue Lambert There’s Still a Chance You Can Find It pigment print 31" x 40"
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class with an elegance that sharpens their point. Michal Hunter, Roderick Turner, Kevin Holder, Alexandra Huttinger and Judy Jashinsky have mastered traditional techniques to create evocative paintings of real people — scenes and portraits that are meant to be both specific and universal.
Not all of the art grouped in this section shows overt humor. But on close inspection it is precisely the artist’s ability to observe the world in a unique way that makes similarities between the oddly compelling work of Andrew Wodzianski, Georgia Deal, Maremi Hooff, and Billy Colbert.
Photographers have also created provocative images of Washington and its inhabitants. Max Hirshfeld, Robert Kairy, Washington, DC, shows us another Washington — not the Federal City but the city of neighborhoods and characters full of life and drama. Without the staging, Prescott Moore Lassman and Harlee Little depict people inside churches and jazz clubs. Bridget Sue Lambert, on the other hand, cuts the Federal City down to size. There’s Still a Chance You Can Find It shows miniaturized individuals rushing from place to place.
The works gathered under the Directed Eye category make it clear you don’t have to go outside the District to have some fun or find real people. The secret life of the city is revealed in the work of its artists — and the secret is that Washington, DC has a sense of humor. If it is true that once we stop taking ourselves so seriously our spirit begins to shine, then these artists are beacons of our humanity.
Directed Eye
Alexandra Huttinger | linoleum print James D. Johnson | 6₁/₂" x 4" Anne Maddox | 4" x 6₁/₄" Angie Garrett | 5₁/₂" x 3₁/₂" (MIDDLE) Betty Simmons | 6 ₃/₄" x 4₁/₄" Essex Henry | 4" x 5 ₃/₄" Samuel Dilbers | 3₁/₂" x 4₁/₂" (BOTTOM) Sarah Gudger | 5₁/₄" x 4" W.L. Bost | 4" x 5" Mary Armstrong | 6" x 4" (LEFT TO RIGHT, TOP)
Michael B. Platt (TOP) The Calloways #4 (BOTTOM) The Calloways #5 lithograph/mixed media print 19" x 13"
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Observing People |
SETTING THE SCENE
Through portraiture, artists examine the world around them by recording people and scenes that have universal representation. Hunter’s painting of two women before the National Gallery fountain uses body attitude to give us all the information of the day: the oppressive heat, the clinging air, the relieving coolness. In the works of Holder and Turner, facial expressions depict the women’s strength, grace, and dignity. For Furdell, “the metro train system becomes a metaphor
Phyllis Furdell Red Line Scene, pastel | 15" x 25"
of life’s journey itself, strangers in the family of man traveling together but preoccupied with their individual destinies and destinations.”
Michal Hunter | The Fountain, oil/canvas | 72" x 84"
Judy Jashinsky John Moore, oil/wood | 32" x 24"
Roderick Turner A Mother’s Love, watercolor 26" x 34" 28
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Directed Eye
KevinHolder Holder Kevin BoaMorte MorteSisterhood, Sisterhood,oil/canvas oil/canvas | | 24" 24"xx35" 35" Boa
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Observing People |
SETTING THE SCENE
Through portraiture, artists examine the world around them by recording people and scenes that have universal representation. Hunter’s painting of two women before the National Gallery fountain uses body attitude to give us all the information of the day: the oppressive heat, the clinging air, the relieving coolness. In the works of Holder and Turner, facial expressions depict the women’s strength, grace, and dignity. For Furdell, “the metro train system becomes a metaphor
Phyllis Furdell Red Line Scene, pastel | 15" x 25"
of life’s journey itself, strangers in the family of man traveling together but preoccupied with their individual destinies and destinations.”
Michal Hunter | The Fountain, oil/canvas | 72" x 84"
Judy Jashinsky John Moore, oil/wood | 32" x 24"
Roderick Turner A Mother’s Love, watercolor 26" x 34" 28
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Directed Eye
KevinHolder Holder Kevin BoaMorte MorteSisterhood, Sisterhood,oil/canvas oil/canvas | | 24" 24"xx35" 35" Boa
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Lisa Montag Brotman | The Keymaster, oil/canvas | 18" x 24"
Lou Stovall L’Amore Di Fiori, silkscreen | 14" x 14"
Billy Colbert Little Debbie, mixed media | 50" x 41₁/₂"
Renée Stout 3 Erzulies, Calling, 18/47, silkscreen | 30" x 22₁/₂"
Maremi Hooff | International Market 3, oil/canvas | 38" x 48"
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Lisa Montag Brotman | The Keymaster, oil/canvas | 18" x 24"
Lou Stovall L’Amore Di Fiori, silkscreen | 14" x 14"
Billy Colbert Little Debbie, mixed media | 50" x 41₁/₂"
Renée Stout 3 Erzulies, Calling, 18/47, silkscreen | 30" x 22₁/₂"
Maremi Hooff | International Market 3, oil/canvas | 38" x 48"
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Brendan Hoffman | Thirty-Four Years, photograph | 20" x 30"
Arthur Tasko Hughes ilfochrome print | 14" x 11" Little Drummer Boy
James Calder | photograph | 16" x 24" (TOP) orange (london) 4 (BOTTOM) orange (london) 1
Max Hirshfeld archival pigment print | 25" x 20" Robert Kairy, Washington, DC
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Brendan Hoffman | Thirty-Four Years, photograph | 20" x 30"
Arthur Tasko Hughes ilfochrome print | 14" x 11" Little Drummer Boy
James Calder | photograph | 16" x 24" (TOP) orange (london) 4 (BOTTOM) orange (london) 1
Max Hirshfeld archival pigment print | 25" x 20" Robert Kairy, Washington, DC
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Looking Closely |
SETTING UP DUALITIES
The works of Deal, Wodzianski, and Day use dual images that urge the observer to make comparisons and search for a unified meaning. Deal’s work “explores the visual recollections and impressions of memory: attempting to break down the narrative to a more refined and skeletal state; the images are not so much stories as junctures.” They hum with the intent of a story, but contrary to the rules of storytelling, let go of narrative control. For Wodzianski, the images come out of a personal iconography informed by the films of Alfred Hitchcock and the literature of Fyodor Dostoevsky; however, he notes that their “cropped juxtaposition does not encourage a narrative interpretation. Instead, the pairing explores more formal issues about color, rhythm, and contrast.”
Andrew Wodzianski | MD1BD4, oil/canvas | 20" x 40"
Day’s photographs of old ship hulls in Lagos, Nigeria — ships once clean and new, now all heavily marked by age and wear — achieve their interest through color relationships and abstraction.
Frank Hallam Day archival pigment print | 36" x 36" (TOP) Ship Hull #18 (BOTTOM) Ship Hull #47 Georgia Deal | mixed media | 24" x 40" (TOP TO BOTTOM) Leap | Juggle | Prickle | Buzz
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Looking Closely |
SETTING UP DUALITIES
The works of Deal, Wodzianski, and Day use dual images that urge the observer to make comparisons and search for a unified meaning. Deal’s work “explores the visual recollections and impressions of memory: attempting to break down the narrative to a more refined and skeletal state; the images are not so much stories as junctures.” They hum with the intent of a story, but contrary to the rules of storytelling, let go of narrative control. For Wodzianski, the images come out of a personal iconography informed by the films of Alfred Hitchcock and the literature of Fyodor Dostoevsky; however, he notes that their “cropped juxtaposition does not encourage a narrative interpretation. Instead, the pairing explores more formal issues about color, rhythm, and contrast.”
Andrew Wodzianski | MD1BD4, oil/canvas | 20" x 40"
Day’s photographs of old ship hulls in Lagos, Nigeria — ships once clean and new, now all heavily marked by age and wear — achieve their interest through color relationships and abstraction.
Frank Hallam Day archival pigment print | 36" x 36" (TOP) Ship Hull #18 (BOTTOM) Ship Hull #47 Georgia Deal | mixed media | 24" x 40" (TOP TO BOTTOM) Leap | Juggle | Prickle | Buzz
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Harlee Little DC Jazz: Roney W, pigment print | 26" x 17"
Prescott Moore Lassman | End of Pew, silver gelatin print | 8" x 12"
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Directed Eye
Alexandra Silverthorne Dupont Circle #5 silver gelatin print | 14" x 11"
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Harlee Little DC Jazz: Roney W, pigment print | 26" x 17"
Prescott Moore Lassman | End of Pew, silver gelatin print | 8" x 12"
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Directed Eye
Alexandra Silverthorne Dupont Circle #5 silver gelatin print | 14" x 11"
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Sam Gilliam Steps and Folds, acrylic/panel 60" x 48" x 7"
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P L A C E | Land/Cityscape Capturing Washington’s Unique Sense of Place F. Lennox Campello
ART CRITIC & INDEPENDENT CURATOR
It dawned on me the other day, as I was packing for yet another move, that by my estimate, I have moved at least 35 times since I was born, having in that time lived in 12 different cities in four different countries in Europe and the Americas, including twice in the greater Washington, DC, area.
William Christenberry Red Building in Forest cibachrome print 20" x 24"
Each of those places had their own unique visual identity: Brooklyn was bustling and active, Spain bright and warm, and Scotland was damp and magical. And yet Washington still brings its own imprint to this sense of place, and (appropriate to being the capital to a nation of immigrants from many lands), it is a imprint of places — rather than place — so diversely Washingtonian by its sheer visual complexity, that it makes defining Washington as a landscape or cityscape an almost impossible task. Yet the long tradition of defining place as landscape or cityscape falls to the talented and diverse artists who interpret what is around them and make it into art. It is their ability to hone in on details, under a microscope or through a wide angle lens, that gives the viewer a sense of location. It is their recording of changes that captures a sense of transi-
tion. And even though they may make their art locally, it might be imbued with a sense of place that has been carried with them from any of the many places they have called home. It is through their eyes that we discover a capital area that sometimes looks like the photorealistic paintings of Joey P. Mánlapaz, each one meticulously describing complex visual problems made to look easy in their delivery by a master painter, while offering us glimpses of Washington’s many distinctive neighborhoods. Likewise Martin Kotler, Val E. Lewton, Jody Bergstresser, and Brett Busang record the city structures and changes and moods. And sometimes the District looks like the drawings of Uruguayan-born artist Javier Gil, whose Washington cityscapes sway and twist as if viewed through the surrealistic lenses of a time traveler, and still manage to reveal a city armed with energy and beauty. In his drawings we see Washington’s Metro as works of serpentine art and cathedral-like proportions, and view an underground cityscape elevated from the mundane to the sublime by the talent and skills of a gifted artist. One can contrast this man-made edifice with the peace and serenity
Place
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Michael Dax Iacovone Walking Down 14th Street photograph 12" x 40"
of Franz Jantzen’s C&O Canal, Mile 0, an exquisite landscape captured where the canal meets the banks of the Potomac river flowing through the city.
beyond the simple visual record of a door to bring us a city brimming with power and presence — and make record of changes, since these doors, long ago demolished, are no longer part of the cityscape.
The District is home to two of the best contemporary landscape photographers in America: Maxwell MacKenzie and William Christenberry. And like a microcosmic sampling of the city of movers and shakers where they now work and live, these transplanted Washingtonians (MacKenzie from the West, Christenberry from the South) have established themselves as the premier American landscape photographers of their generation. They record their ancestral homesteads on film and then bring that imagery to the multicultural pool that makes up the genetic code of Washington’s visual arts community. Through their eyes, even their personal American landscapes become Washingtonian landscapes, as it should be for America’s capital city.
And still other times, artists zoom into detail to see art in detail itself, such as Steven John Fuchs, whose work reveals a cityscape that most of us would otherwise miss. In Almas Temple, the detail is so intricate and foreign yet likely that we might walk by this building on any given day and not take notice.
And sometimes, artists bring their special ability to discover art where we see function, to show us a sense of cityscape where we simply see a door, such as Scip Barnhart’s Doors on 19th Street, a powerful print by a master printmaker, which goes
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Place
This is a capital city overflowing with art galleries and museums of all kinds, a city known for political power and a powerful river, with a city code where buildings are not allowed to climb into the clouds. Yet it is the most recognizable city on the planet, with winding roads full of trees, bridges with lions, and parks with giants bursting from the ground. And, as evidenced by this impressive City Hall Art Collection, clearly a city overflowing with gifted artists who recognize, interpret, and offer us this unique sense of place as diverse works forever recording landscapes and cityscapes.
Michael Farrell Cedar Springs II charcoal/acrylic/canvas 32" x 40"
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Michael Dax Iacovone Walking Down 14th Street photograph 12" x 40"
of Franz Jantzen’s C&O Canal, Mile 0, an exquisite landscape captured where the canal meets the banks of the Potomac river flowing through the city.
beyond the simple visual record of a door to bring us a city brimming with power and presence — and make record of changes, since these doors, long ago demolished, are no longer part of the cityscape.
The District is home to two of the best contemporary landscape photographers in America: Maxwell MacKenzie and William Christenberry. And like a microcosmic sampling of the city of movers and shakers where they now work and live, these transplanted Washingtonians (MacKenzie from the West, Christenberry from the South) have established themselves as the premier American landscape photographers of their generation. They record their ancestral homesteads on film and then bring that imagery to the multicultural pool that makes up the genetic code of Washington’s visual arts community. Through their eyes, even their personal American landscapes become Washingtonian landscapes, as it should be for America’s capital city.
And still other times, artists zoom into detail to see art in detail itself, such as Steven John Fuchs, whose work reveals a cityscape that most of us would otherwise miss. In Almas Temple, the detail is so intricate and foreign yet likely that we might walk by this building on any given day and not take notice.
And sometimes, artists bring their special ability to discover art where we see function, to show us a sense of cityscape where we simply see a door, such as Scip Barnhart’s Doors on 19th Street, a powerful print by a master printmaker, which goes
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Place
This is a capital city overflowing with art galleries and museums of all kinds, a city known for political power and a powerful river, with a city code where buildings are not allowed to climb into the clouds. Yet it is the most recognizable city on the planet, with winding roads full of trees, bridges with lions, and parks with giants bursting from the ground. And, as evidenced by this impressive City Hall Art Collection, clearly a city overflowing with gifted artists who recognize, interpret, and offer us this unique sense of place as diverse works forever recording landscapes and cityscapes.
Michael Farrell Cedar Springs II charcoal/acrylic/canvas 32" x 40"
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Holly Foss (LEFT) 3067 Canal Towpath NW (RIGHT) Canal and 31st Street NW silver gelatin print | 14" x 11"
Denee Aleathia Barr (LEFT) Lookout Point, Kent Island MD photo emulsion with selenium 16" x 10 ₃/₄" (RIGHT) Trees with Path, Kent Island MD photo emulsion with selenium 15" x 18"
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Holly Foss (LEFT) 3067 Canal Towpath NW (RIGHT) Canal and 31st Street NW silver gelatin print | 14" x 11"
Denee Aleathia Barr (LEFT) Lookout Point, Kent Island MD photo emulsion with selenium 16" x 10 ₃/₄" (RIGHT) Trees with Path, Kent Island MD photo emulsion with selenium 15" x 18"
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Close Inspection FOREST AND BARK In landscape painting, as in abstraction, forms can transmit a secret life. Grand’s painting, Haute des Forêts, is named after a small rural forest in Burgundy. “Like most of the forests in this agricultural area, it was planted by machine 30 or 40 years ago. As such, the trees are all the same age and are in straight lines. It had the feeling of a man-made place — more like a dark cathedral than a woods.” By contrast, MacKenzie produces a sense Freya Grand | Haute des Forêts, oil/canvas | 48" x 60"
of mystery by closing in on the overlap of human and natural elements — the bark of a tree carved with letters that surround a fossil-like knot.
Maxwell MacKenzie Bard, photograph 38" x 38"
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Close Inspection FOREST AND BARK In landscape painting, as in abstraction, forms can transmit a secret life. Grand’s painting, Haute des Forêts, is named after a small rural forest in Burgundy. “Like most of the forests in this agricultural area, it was planted by machine 30 or 40 years ago. As such, the trees are all the same age and are in straight lines. It had the feeling of a man-made place — more like a dark cathedral than a woods.” By contrast, MacKenzie produces a sense Freya Grand | Haute des Forêts, oil/canvas | 48" x 60"
of mystery by closing in on the overlap of human and natural elements — the bark of a tree carved with letters that surround a fossil-like knot.
Maxwell MacKenzie Bard, photograph 38" x 38"
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Franz Jantzen | C&O Canal: Mile 0: Panoramic View of the Tide-Lock at Rock Creek, Georgetown 2/30, b/w toned silver prints | 20" x 96" Ellen Sinel | Flowering Dune Grasses, oil/wood | 12" x 48"
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Franz Jantzen | C&O Canal: Mile 0: Panoramic View of the Tide-Lock at Rock Creek, Georgetown 2/30, b/w toned silver prints | 20" x 96" Ellen Sinel | Flowering Dune Grasses, oil/wood | 12" x 48"
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Oscillating Views OBSERVING AND IMAGINING Tankersley and Kessler capture two different moods of urban landscape — one offers a calm though slightly anxious sense of distance and the other puts the viewer in the center of the urban jumble. Tankersley’s work develops from a tangibly external starting point: “this shot in particular appealed to me in the way the road was spottily lit up and the streetlights and office buildings in the background reflected in the water and colored the sky.” Kessler’s cityscape comes primarily from within; she compresses “fixed form and perspective to reveal the spiritual qualities and rhythm of a city,” while her
J. Larry Golfer Boat Landing, Gravelly Point epson digital print 19" x 13"
colors “suggest a mood, evoke a memory, and represent something closer to feeling than experience.”
Benjamin C. Tankersley | Arlington Mud Puddle, cibachrome print | 14" x 14"
Karey Ellen Kessler | Fragmented City, oil/canvas | 58" x 62"
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Oscillating Views OBSERVING AND IMAGINING Tankersley and Kessler capture two different moods of urban landscape — one offers a calm though slightly anxious sense of distance and the other puts the viewer in the center of the urban jumble. Tankersley’s work develops from a tangibly external starting point: “this shot in particular appealed to me in the way the road was spottily lit up and the streetlights and office buildings in the background reflected in the water and colored the sky.” Kessler’s cityscape comes primarily from within; she compresses “fixed form and perspective to reveal the spiritual qualities and rhythm of a city,” while her
J. Larry Golfer Boat Landing, Gravelly Point epson digital print 19" x 13"
colors “suggest a mood, evoke a memory, and represent something closer to feeling than experience.”
Benjamin C. Tankersley | Arlington Mud Puddle, cibachrome print | 14" x 14"
Karey Ellen Kessler | Fragmented City, oil/canvas | 58" x 62"
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Sharon Wolpoff | Fourth of July, oil/linen | 30" x 44"
Regina M. Miele | Alley Rear Corcoran, graphite | 30" x 36"
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Sharon Wolpoff | Fourth of July, oil/linen | 30" x 44"
Regina M. Miele | Alley Rear Corcoran, graphite | 30" x 36"
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Place
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Val E. Lewton Souvenir Demolition, gouache/paper | 21" x 19"
Joey P. Mánlapaz Breezin’ (Food Vendor Series), oil/linen | 36" x 24"
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Place
Val E. Lewton Dome and Tech World 2, gouache/paper | 14" x 19"
Martin Kotler Pink & White/Backyard, oil/linen | 30" x 34"
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Val E. Lewton Souvenir Demolition, gouache/paper | 21" x 19"
Joey P. Mánlapaz Breezin’ (Food Vendor Series), oil/linen | 36" x 24"
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Val E. Lewton Dome and Tech World 2, gouache/paper | 14" x 19"
Martin Kotler Pink & White/Backyard, oil/linen | 30" x 34"
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Joseph P. White Ritz Carlton, oil/canvas 30" x 40"
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Scip Barnhart Doors on 19th Street, lithograph 18" x 12"
Steven John Fuchs Almas Temple, pen/ink/acrylic wash 40" x 26"
Jody Bergstresser Tivoli, gouache/paper 21 ₁/₄" x 13 ₃/₄"
Brett Busang On 7th, acrylic/canvas 40" x 30"
Place
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Joseph P. White Ritz Carlton, oil/canvas 30" x 40"
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Scip Barnhart Doors on 19th Street, lithograph 18" x 12"
Steven John Fuchs Almas Temple, pen/ink/acrylic wash 40" x 26"
Jody Bergstresser Tivoli, gouache/paper 21 ₁/₄" x 13 ₃/₄"
Brett Busang On 7th, acrylic/canvas 40" x 30"
Place
HEART OF DC
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Jiha Moon | Air Cartography, ink/acrylic/hanji | 23₁/₂" x 29₁/₂"
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C U LT U R A L C R O S S R O A D S | DC and the World Steeped in Tradition: A Converging Global Palette David Furchgott
Chan Chao Aung Ko and Yon Naing, cibachrome print ed. 1/6 21” x 16”
FOUNDER AND PRESIDENT, INTERNATIONAL ARTS & ARTISTS, WASHINGTON, DC
Since its very beginning, the District of Columbia has been an evolving work of art — a sociological mix that first began with the concurrent arrival of both those who physically built the national capital alongside the influx of state representatives (limited at that time to a single race and sex) and their administrative counterparts. Through the years more of the best and the brightest gathered here, and that by definition mandated a change of demographics. Increasingly over the past two centuries, Americans of all colors, types, backgrounds, and places of origin have come to Washington to be of service to their country. Many remain here, probably making the District the most mixed sub-set of all Americans — a microcosm of America in less than seventy square miles. But as the nation developed its identity, raised its profile, and started looking outward, Washington began to draw the most important emissaries from other nations. Besides now having as large a number of representatives from other nations as any capital city in the world, Washington also has become the base of operations for many international organizations — the World Bank, the International Monetary Fund, the Inter-American
Development Bank, the Organization of American States, and hundreds more of various sizes and constituencies. Washington also has its share of multinational businesses that are headquartered or represented here. With each new wave of growth Washington’s international dimension has enlarged and flourished bringing with it significant numbers of citizens from each of these other countries. You can walk the streets of Washington’s business and residential neighborhoods and hear dozens of languages being spoken. You can find restaurants in Washington that serve the native and regional cuisines of every nation. Just as plentifully you can find the art and culture of the world all represented in and compactly woven into this unique capital city. So it is, therefore, very fitting that Washington’s City Hall, the John A. Wilson Building, should have art that reminds us that true diversity in a world context is not simply the usual categories that comprise the larger segments of the U.S. population, but the even richer range of possibilities within the world and its nearly two hundred countries and its hundreds of ethic groups and sub-cultures.
Cultural Crossroads
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to the traditional painting from her native Korea. Likewise, Tai Hwa Goh brings a new subtlety and complexity to printmaking, incorporating Korean papers with both aquatint and silkscreen processes to create abstractions layered with wax.
Anil Revri (LEFT) Geometric Abstraction #1 (RIGHT) Geometric Abstraction #2 mixed media/handmade paper 40” x 30”
The basis for this collection came from an open application to all artists in the DC metropolitan area. A panel of professionals reviewed over 4000 works of art to select the group that would make up the inaugural collection. In searching for commonalities among the selected works, it was noted that many of the artists in this City Hall Art Collection were born in other countries, and that their work speaks from that experience. By grouping some of them under the heading of Cultural Crossroads, we are able to comprehend how their visual sensibility represents this broader sense of cultural diversity. For example, Jiha Moon’s work in ink and paint alludes to the complexity of relationships between the East and the West — there are the converging red lines that she says are derived from contemporary airline route maps. These create turmoil in color amidst the obvious more organized reference
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Cultural Crossroads
Chan Chao’s luscious photographs are direct and often confrontational. As an art photographer and not a photo journalist, his work in the City Hall Art Collection is from a series on the people (particularly the freedom fighters) of Burma, his country of origin. Included in the 2002 Whitney Biennial, Chan Chao is just one example of the many artists in the collection whose work has been in museum shows and/or is included in museum collections. Ramon Menocal’s multilayered paintings are intended to reflect the essence of his “Cubanity” as he describes it; they evolved from his restoration of paintings in Old Havana, and speak to the Spanish and African roots of Cuba. There is also a clarity of origin in the work of Anil Revri, whose mandala-like complex meditational drawings reflect both the Hindu and Buddhist traditions of his Indian culture. Colombia-born Victoria Restrepo’s delicately tinted photographs are often through windows and thereby reference two worlds, a duality that she
shares with many of the other artists who have migrated from places afar to Washington. And while Joan Belmar says that he “has lived in many worlds,” the color choices in his complex collage still subtly speak to his South American roots in Chile. He identifies Domingo “Garden” as a transitional piece that explores three-dimensionality. The references to her native culture are plentiful in Patricia Secco’s painting, Bordado, as the title evolves from the folk embroideries of northeastern Brazil, the color choices and imagery speak to her Brazilian roots. Naúl Ojeda died in Washington in 2002 after living in the District for a quarter of a century. Originally from Uruguay, his clear and beautifully executed woodcuts can be both humorous and serious, and often speak to political issues and social concerns. These artists are a small but healthy sample of the diversity of culture in Washington. The City Hall Art Collection speaks to the maturity that the nation’s capital has attained as a planned city — a man-made work of art in itself and an everchanging reflection of the world.
Ramon Menocal | Radiografia #1, acrylic/black ink/paper | 27 ₁/₂" x 19 ₁/₂"
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to the traditional painting from her native Korea. Likewise, Tai Hwa Goh brings a new subtlety and complexity to printmaking, incorporating Korean papers with both aquatint and silkscreen processes to create abstractions layered with wax.
Anil Revri (LEFT) Geometric Abstraction #1 (RIGHT) Geometric Abstraction #2 mixed media/handmade paper 40” x 30”
The basis for this collection came from an open application to all artists in the DC metropolitan area. A panel of professionals reviewed over 4000 works of art to select the group that would make up the inaugural collection. In searching for commonalities among the selected works, it was noted that many of the artists in this City Hall Art Collection were born in other countries, and that their work speaks from that experience. By grouping some of them under the heading of Cultural Crossroads, we are able to comprehend how their visual sensibility represents this broader sense of cultural diversity. For example, Jiha Moon’s work in ink and paint alludes to the complexity of relationships between the East and the West — there are the converging red lines that she says are derived from contemporary airline route maps. These create turmoil in color amidst the obvious more organized reference
68
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Cultural Crossroads
Chan Chao’s luscious photographs are direct and often confrontational. As an art photographer and not a photo journalist, his work in the City Hall Art Collection is from a series on the people (particularly the freedom fighters) of Burma, his country of origin. Included in the 2002 Whitney Biennial, Chan Chao is just one example of the many artists in the collection whose work has been in museum shows and/or is included in museum collections. Ramon Menocal’s multilayered paintings are intended to reflect the essence of his “Cubanity” as he describes it; they evolved from his restoration of paintings in Old Havana, and speak to the Spanish and African roots of Cuba. There is also a clarity of origin in the work of Anil Revri, whose mandala-like complex meditational drawings reflect both the Hindu and Buddhist traditions of his Indian culture. Colombia-born Victoria Restrepo’s delicately tinted photographs are often through windows and thereby reference two worlds, a duality that she
shares with many of the other artists who have migrated from places afar to Washington. And while Joan Belmar says that he “has lived in many worlds,” the color choices in his complex collage still subtly speak to his South American roots in Chile. He identifies Domingo “Garden” as a transitional piece that explores three-dimensionality. The references to her native culture are plentiful in Patricia Secco’s painting, Bordado, as the title evolves from the folk embroideries of northeastern Brazil, the color choices and imagery speak to her Brazilian roots. Naúl Ojeda died in Washington in 2002 after living in the District for a quarter of a century. Originally from Uruguay, his clear and beautifully executed woodcuts can be both humorous and serious, and often speak to political issues and social concerns. These artists are a small but healthy sample of the diversity of culture in Washington. The City Hall Art Collection speaks to the maturity that the nation’s capital has attained as a planned city — a man-made work of art in itself and an everchanging reflection of the world.
Ramon Menocal | Radiografia #1, acrylic/black ink/paper | 27 ₁/₂" x 19 ₁/₂"
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The Personal Window BELOW THE SURFACE The reconciliation of the inside and outside, the here and there, is an important theme for many artists who have traveled from one culture to another. Restrepo states, “I usually work with windows because they give me the opportunity to combine two different worlds at the same time. These windows are not only physical spaces but
Patricia Secco Bordado, acrylic/canvas 30" x 40"
my interior spaces; in many of them I mix elements from the two cultures I carry inside.” Likewise, Goh expresses her personal vision as her body which “is both outward and inward, and it is also wide open.”
Victoria Restrepo Still Life with Hot Peppers, acrylic/photograph 19" x 13"
Tai Hwa Goh Under the Surface X, wood intaglio/handwaxed paper 24" x 24"
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The Personal Window BELOW THE SURFACE The reconciliation of the inside and outside, the here and there, is an important theme for many artists who have traveled from one culture to another. Restrepo states, “I usually work with windows because they give me the opportunity to combine two different worlds at the same time. These windows are not only physical spaces but
Patricia Secco Bordado, acrylic/canvas 30" x 40"
my interior spaces; in many of them I mix elements from the two cultures I carry inside.” Likewise, Goh expresses her personal vision as her body which “is both outward and inward, and it is also wide open.”
Victoria Restrepo Still Life with Hot Peppers, acrylic/photograph 19" x 13"
Tai Hwa Goh Under the Surface X, wood intaglio/handwaxed paper 24" x 24"
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Naúl Ojeda | Escaping from the Big City, woodcut 20/25 | 19" x 24"
J. Belmar | Domingo “Garden”, mixed media/paper | 30" x 42"
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Naúl Ojeda | Escaping from the Big City, woodcut 20/25 | 19" x 24"
J. Belmar | Domingo “Garden”, mixed media/paper | 30" x 42"
Cultural Crossroads
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C O L L E C T I O N C H E C K L I S T | Index
BENJAMIN ABRAMOWITZ
SCIP BARNHART
JAMES CALDER
FRANK HALLAM DAY
Untitled 1 (Improvisation) © 1961 watercolor | pg 8
Doors on 19th Street © 2001 lithograph | pg 64
orange (london) 2 © 2003 photograph
Ship Hull #47 © 2004 archival pigment print | pg 35
BENJAMIN ABRAMOWITZ
DENEE ALEATHIA BARR
JAMES CALDER
GEORGIA DEAL
Untitled 2 (Improvisation) © 1962 watercolor
Trees with Path, Kent Island MD © 2003 photo emulsion with selenium pg 53
orange (london) 3 © 2003 photograph
Buzz © 2004 mixed media | pg 34
JAMES CALDER
GEORGIA DEAL
orange (london) 4 © 2003 photograph | pg 33
Leap © 2004 mixed media | pg 34
CHAN CHAO
GEORGIA DEAL
Soe Myint 2/6 © 1996 cibachrome print
Juggle © 2004 mixed media | pg 34
JOHN M. ADAMS Sitting Still (#22) © 2005 oil/acrylic/graphite/birch
DENEE ALEATHIA BARR
Sitting Still (#21) © 2005 oil/acrylic/graphite/birch
Lookout Point, Kent Island MD © 2003 photo emulsion with selenium pg 53
JOHN M. ADAMS
J. BELMAR
CHAN CHAO
GEORGIA DEAL
Sitting Still (#29) © 2005 oil/acrylic/graphite/birch | pg 19
Domingo “Garden” © 2005 mixed media/paper | pg 72
Aung Ko and Yon Naing 1/6 © 1997 cibachrome print | pg 67
Prickle © 2004 mixed media | pg 34
JOHN M. ADAMS
JODY BERGSTRESSER
Sitting Still (#25) © 2005 oil/acrylic/graphite/birch | pg 19
Tivoli © 2001 gouache/paper | pg 65
JOHN M. ADAMS
MARGARET A. BOOZER
Dream Building (blue) 12/21 © 2000 57-color silkscreen
Sitting Still (#27) © 2005 oil/acrylic/birch
Winter Landscape © 2005 porcelain/steel | pg 43
WILLIAM CHRISTENBERRY
JOHN M. ADAMS
JOHN M. ADAMS
MARK CAMERON BOYD
Sitting Still (#26) © 2005 oil/acrylic/graphite/birch
No Way To Convey © 2004 mixed media/wood | pg 7
EILEEN DOUGHTY WILLIAM CHRISTENBERRY
EILEEN DOUGHTY Red Building in Forest 2/25 © 1996 cibachrome print | pg 49
LISA MONTAG BROTMAN
Zazen I © 2003 acrylic/pencil/rice paper/canvas pg 23
The Keymaster © 2006 oil/canvas | pg 31
MICHELE MARIE BANKS Blue Variations © 2005 watercolor | pg 11
On 7th © 2002 acrylic/canvas | pg 65
Pink Variations © 2005 watercolor | pg 11
orange (london) 1 © 2003 photograph | pg 33
Cedar Springs II © 2003 charcoal/acrylic/canvas | pg 51
LAUREL FARRIN Two Way Street © 2005 watercolor | pg 11
Polka © 2000 oil/acrylic/canvas | pg 23
HOLLY FOSS RICHARD L. DANA
JAMES CALDER MICHELE MARIE BANKS
Little Debbie © 2003 mixed media | pg 30
STEVEN CUSHNER BRETT BUSANG
White Ash Latewood Tangential x 300 © 2004 mixed media/textile | pg 46
MICHAEL FARRELL BILLY COLBERT
GINI ALTER
White Pine Cambial Tangential x 300 © 2004 mixed media/textile
Noise/Silence © 2004 mixed media | pg 14
28TH & Dumbarton Streets, NW © 2005 silver gelatin print
FRANK HALLAM DAY
HOLLY FOSS
Ship Hull #18 © 2004 archival pigment print | pg 35
Canal and 31st Street NW © 2005 silver gelatin print | pg 52
HEART OF DC
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C O L L E C T I O N C H E C K L I S T | Index
BENJAMIN ABRAMOWITZ
SCIP BARNHART
JAMES CALDER
FRANK HALLAM DAY
Untitled 1 (Improvisation) © 1961 watercolor | pg 8
Doors on 19th Street © 2001 lithograph | pg 64
orange (london) 2 © 2003 photograph
Ship Hull #47 © 2004 archival pigment print | pg 35
BENJAMIN ABRAMOWITZ
DENEE ALEATHIA BARR
JAMES CALDER
GEORGIA DEAL
Untitled 2 (Improvisation) © 1962 watercolor
Trees with Path, Kent Island MD © 2003 photo emulsion with selenium pg 53
orange (london) 3 © 2003 photograph
Buzz © 2004 mixed media | pg 34
JAMES CALDER
GEORGIA DEAL
orange (london) 4 © 2003 photograph | pg 33
Leap © 2004 mixed media | pg 34
CHAN CHAO
GEORGIA DEAL
Soe Myint 2/6 © 1996 cibachrome print
Juggle © 2004 mixed media | pg 34
JOHN M. ADAMS Sitting Still (#22) © 2005 oil/acrylic/graphite/birch
DENEE ALEATHIA BARR
Sitting Still (#21) © 2005 oil/acrylic/graphite/birch
Lookout Point, Kent Island MD © 2003 photo emulsion with selenium pg 53
JOHN M. ADAMS
J. BELMAR
CHAN CHAO
GEORGIA DEAL
Sitting Still (#29) © 2005 oil/acrylic/graphite/birch | pg 19
Domingo “Garden” © 2005 mixed media/paper | pg 72
Aung Ko and Yon Naing 1/6 © 1997 cibachrome print | pg 67
Prickle © 2004 mixed media | pg 34
JOHN M. ADAMS
JODY BERGSTRESSER
Sitting Still (#25) © 2005 oil/acrylic/graphite/birch | pg 19
Tivoli © 2001 gouache/paper | pg 65
JOHN M. ADAMS
MARGARET A. BOOZER
Dream Building (blue) 12/21 © 2000 57-color silkscreen
Sitting Still (#27) © 2005 oil/acrylic/birch
Winter Landscape © 2005 porcelain/steel | pg 43
WILLIAM CHRISTENBERRY
JOHN M. ADAMS
JOHN M. ADAMS
MARK CAMERON BOYD
Sitting Still (#26) © 2005 oil/acrylic/graphite/birch
No Way To Convey © 2004 mixed media/wood | pg 7
EILEEN DOUGHTY WILLIAM CHRISTENBERRY
EILEEN DOUGHTY Red Building in Forest 2/25 © 1996 cibachrome print | pg 49
LISA MONTAG BROTMAN
Zazen I © 2003 acrylic/pencil/rice paper/canvas pg 23
The Keymaster © 2006 oil/canvas | pg 31
MICHELE MARIE BANKS Blue Variations © 2005 watercolor | pg 11
On 7th © 2002 acrylic/canvas | pg 65
Pink Variations © 2005 watercolor | pg 11
orange (london) 1 © 2003 photograph | pg 33
Cedar Springs II © 2003 charcoal/acrylic/canvas | pg 51
LAUREL FARRIN Two Way Street © 2005 watercolor | pg 11
Polka © 2000 oil/acrylic/canvas | pg 23
HOLLY FOSS RICHARD L. DANA
JAMES CALDER MICHELE MARIE BANKS
Little Debbie © 2003 mixed media | pg 30
STEVEN CUSHNER BRETT BUSANG
White Ash Latewood Tangential x 300 © 2004 mixed media/textile | pg 46
MICHAEL FARRELL BILLY COLBERT
GINI ALTER
White Pine Cambial Tangential x 300 © 2004 mixed media/textile
Noise/Silence © 2004 mixed media | pg 14
28TH & Dumbarton Streets, NW © 2005 silver gelatin print
FRANK HALLAM DAY
HOLLY FOSS
Ship Hull #18 © 2004 archival pigment print | pg 35
Canal and 31st Street NW © 2005 silver gelatin print | pg 52
HEART OF DC
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C O L L E C T I O N C H E C K L I S T | Index
HOLLY FOSS
JOHN N. GRUNWELL
MAX HIRSHFELD
ARTHUR TASKO HUGHES
ALEXANDRA HUTTINGER
JACOB KAINEN
VAL E. LEWTON
JIHA MOON
LYNN PUTNEY
MARIE RINGWALD
3067 Canal Towpath NW © 2005 silver gelatin print | pg 52
Untitled Rectangle © 2003 acrylic/paint pen/canvas | pg 14
Gustavo Chavez, Washington, DC 1/15 © 2004 archival pigment print
Little Drummer Boy © 2002 ilfochrome print | pg 32
Samuel Dilbers © 2002 linoleum print | pg 27
Dr. Mabuse 26/30 © 1976 etching | pg 9
Dome and Tech World 2 © 2005 gouache/paper | pg 63
Air Cartography © 2006 ink/acrylic/hanji | pg 66
Popular Science © 2002 ceramic tile | pg 47
House in Process © 1996 plastic/wood/metal | pg 43
STEVEN JOHN FUCHS
ANDREA HAFFNER
MICHAL HUNTER
ALEXANDRA HUTTINGER
JOANNE KENT
VAL E. LEWTON
MINNA NEWMAN NATHANSON
LYNN PUTNEY
ROBIN ROSE
Almas Temple © 2005 pen/ink/acrylic wash | pg 65
Untitled © 2002 mixed media | pg 46
The Fountain © 1981 oil/canvas | pg 28
James D. Johnson © 2002 linoleum print | pg 27
Incognito © 1998 oil/wood
Souvenir Demolition © 2003 gouache/paper | pg 62
Declaration © 2003 stainless steel
Runaway © 2002 ceramic tile | pg 47
Untitled 7 © 2000 monoprint
PHYLLIS FURDELL
ANDREA HAFFNER
ALEXANDRA HUTTINGER
ALEXANDRA HUTTINGER
JOANNE KENT
HARLEE LITTLE
MINNA NEWMAN NATHANSON
LYNN PUTNEY
ROBIN ROSE
Red Line Scene © 1992 pastel | pg 29
Untitled © 2002 mixed media
BRENDAN HOFFMAN
Anne Maddox © 2002 linoleum print | pg 27
Sarah Gudger © 2003 linoleum print | pg 27
Spontaneous Combustion © 1998 oil/wood | pg 19
DC Jazz: Nasar A © 2004 pigment print
Point of Agreement © 2003 stainless steel | pg 43
Gatekeeper © 2002 ceramic tile | pg 47
Untitled 8 © 2000 monoprint
JAVIER GIL
WILLIAM H. HARRIS III
DC Fish Market © 2006 photograph
ALEXANDRA HUTTINGER
MICHAEL DAX IACOVONE
KAREY ELLEN KESSLER
HARLEE LITTLE
WILLIAM A NEWMAN
LYNN PUTNEY
ROBIN ROSE
DC Metro II © 2004 charcoal | pg 48
Bird of Paradise © 2003 printed canvas/wood | pg 40
BRENDAN HOFFMAN
Angie Garrett © 2003 linoleum print | pg 27
A Walk Up U Street © 2006 photograph
Fragmented City © 2002 oil/canvas | pg 59
DC Jazz: Roney W © 2004 pigment print | pg 37
Nest Tape 14 © 2005 oil/wood | pg 26
Untitled 15 © 2000 monoprint | pg 20
SAM GILLIAM
SEAN HENNESSEY
Thirty-Four Years © 2006 photograph | pg 33
Hey, Rocky! (Better Get Another Hat) © 2002 ceramic tile | pg 47
ALEXANDRA HUTTINGER
MICHAEL DAX IACOVONE
JAE KO
MAXWELL MACKENZIE
NAÚL OJEDA
Steps and Folds © 1997 acrylic/panel | pg 38
The Illusion of Obstacles © 2005 mixed media | pg 42
KEVIN HOLDER
Betty Simmons © 2005 linoleum print | pg 27
Walking Down 14th Street © 2006 photograph | pg 50
Untitled Red © 2005 rolled paper/ink | pg 45
Tang © 2004 photograph
Boa Morte Sisterhood © 2003 oil/canvas | pg 29
Escaping from the Big City 20/25 © 1976 woodcut 17/30 | pg 73
Wishing Tree #3 © 2002 ceramic tile | pg 47
ALEXANDRA HUTTINGER
MICHAEL JANIS
MARTIN KOTLER
MAXWELL MACKENZIE
The Waters of Remembrance © 2006 cast glass | pg 44
Bard © 2004 photograph | pg 55
LYNN PUTNEY
International Market 3 © 2005 oil/canvas | pg 31
Pink & White, Back Yard View © 2003-2004 oil/linen | pg 63
NAÚL OJEDA
MAREMI HOOFF
Essex Henry © 2003 linoleum print | pg 27
Fisherman Fished 17/30 © 1979 woodcut 1/30
Untitled (Game) © 2002 ceramic tile | pg 47
ALEXANDRA HUTTINGER
FRANZ JANTZEN
LYNN PUTNEY
KAREN HUBACHER
Fallen © 2003 paper pulp painting | pg 10
Habitat I 18/25 © 2001 collograph | pg 13
There’s Still a Chance You Can Find It 5 © 2004 pigment print | pg 26
Cement Labyrinth 1/30 © 1978 woodcut 20/25
Sailor’s Warning © 2002 ceramic tile | pg 47
Two Poets with Champion © 1989-1992 oil/masonite | pg 25
ALEXANDRA HUTTINGER
C&O Canal: Mile 0: Panoramic View of the Tide-Lock at Rock Creek, Georgetown 2/30 © 1996 b/w toned silver prints | pg 57
NAÚL OJEDA
ELLEN HILL
Clay Bobbitt © 2002 linoleum print
Martin Jackson © 2002 linoleum print
VICTORIA RESTREPO
ALEXANDRA SILVERTHORNE
PRESCOTT MOORE LASSMAN
Radiografia #1 © 2001 acrylic/ink/paper | pg 69
MICHAEL B. PLATT
JUDY JASHINSKY
End of Pew © 2005 silver gelatin print | pg 36
The Calloways #4 3/5 © 1997 lithograph | pg 27
Dupont Circle #5 © 2006 silver gelatin print | pg 37
RAMON MENOCAL
Still Life with Hot Peppers 29 © 2005 acrylic/photograph | pg 70
Radiografia #2 © 2001 acrylic/ink/paper
TAI HWA GOH Under the Surface X © 2005 wood intaglio/handwaxed paper pg 71
MAX HIRSHFELD Robert Kairy, Washington, DC 3/15 © 2003 archival pigment print | pg 32
SEAN HENNESSEY From a Certain Point of View © 2005 mixed media | pg 42
J. LARRY GOLFER Boat Landing, Gravelly Point © 2006 epson digital print | pg 59
Breezin’ © 1994 oil/linen | pg 62
KAREN HUBACHER
Catch of the Day © 2003 encaustic/wood | pg 16
Blue Egg © 2003 paper pulp painting | pg 10
Habitat II 17/25 © 2001 collograph | pg 13
ALEXANDRA HUTTINGER
Ramon © 1992 oil/wood
Mary Armstrong © 2004 linoleum print | pg 27
JUDY JASHINSKY
PRESCOTT MOORE LASSMAN Offering of Gifts and Music © 2005 silver gelatin print
MAGGIE MICHAEL Phantom © 2003-2005 mixed media/canvas | pg 15
SIMON GOUVERNEUR
FELRATH HINES
KAREN HUBACHER
Two-Toe © 1988 egg tempera/acrylic/canvas | pg 4
Windows © 1982 monotype
Refuge I 20/25 © 2001 collograph | pg 13
ALEXANDRA HUTTINGER
John Moore © 1992 oil/wood | pg 28
Melissa Barden © 2002 linoleum print
JUDY JASHINSKY
PRESCOTT MOORE LASSMAN
Phillip Brookman © 1992 oil/wood
Church Pillars © 2005 silver gelatin print
REGINA M. MIELE
JACOB KAINEN
PRESCOTT MOORE LASSMAN
Alley Rear Corcoran © 2004 graphite | pg 60
Blue Cocoon 6/30 © 1976 etching | pg 9
Benediction in Music © 2005 silver gelatin print
KAREN HUBACHER
Haute des Forêts © 2004 oil/canvas | pg 54
Open Ended © 1982 monotype | pg 8
Refuge II 18/25 © 2001 collograph | pg 13
ALEXANDRA HUTTINGER
TOM GREEN
JAMES HUCKENPAHLER
W.L. Bost © 2002 linoleum print | pg 27
In Red © 2004 acrylic/canvas | pg 6
Untitled © 2004 digital print | pg 18
76
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CITY HALL ART COLLECTION
Bordado © 2006 acrylic/canvas | pg 71
JOE SHANNON
RAMON MENOCAL
ELLEN HILL
FELRATH HINES
Life Force © 2005 stoneware/reeds | pg 42
PATRICIA SECCO
JOEY P. MÁNLAPAZ BRIDGET SUE LAMBERT
PAT GOSLEE
FREYA GRAND
RIMA SCHULKIND LYNN PUTNEY
MICHAEL B. PLATT The Calloways #5 3/5 © 1997 lithograph | pg 27
ALEXANDRA SILVERTHORNE ANIL REVRI
LYNN PUTNEY
Geometric Abstraction #1 © 2003 mixed media/handmade paper pg 68
Satellite © 2002 ceramic tile | pg 47
ANIL REVRI
LYNN PUTNEY Low Tide © 2002 ceramic tile | pg 47
Geometric Abstraction #2 © 2003 mixed media/handmade paper pg 68
Malcolm X Park #2 © 2006 silver gelatin print
ALEXANDRA SILVERTHORNE Fletcher’s Boathouse #7 © 2006 silver gelatin print
ELLEN SINEL Flowering Dune Grasses © 2005 oil/wood | pg 56
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C O L L E C T I O N C H E C K L I S T | Index
HOLLY FOSS
JOHN N. GRUNWELL
MAX HIRSHFELD
ARTHUR TASKO HUGHES
ALEXANDRA HUTTINGER
JACOB KAINEN
VAL E. LEWTON
JIHA MOON
LYNN PUTNEY
MARIE RINGWALD
3067 Canal Towpath NW © 2005 silver gelatin print | pg 52
Untitled Rectangle © 2003 acrylic/paint pen/canvas | pg 14
Gustavo Chavez, Washington, DC 1/15 © 2004 archival pigment print
Little Drummer Boy © 2002 ilfochrome print | pg 32
Samuel Dilbers © 2002 linoleum print | pg 27
Dr. Mabuse 26/30 © 1976 etching | pg 9
Dome and Tech World 2 © 2005 gouache/paper | pg 63
Air Cartography © 2006 ink/acrylic/hanji | pg 66
Popular Science © 2002 ceramic tile | pg 47
House in Process © 1996 plastic/wood/metal | pg 43
STEVEN JOHN FUCHS
ANDREA HAFFNER
MICHAL HUNTER
ALEXANDRA HUTTINGER
JOANNE KENT
VAL E. LEWTON
MINNA NEWMAN NATHANSON
LYNN PUTNEY
ROBIN ROSE
Almas Temple © 2005 pen/ink/acrylic wash | pg 65
Untitled © 2002 mixed media | pg 46
The Fountain © 1981 oil/canvas | pg 28
James D. Johnson © 2002 linoleum print | pg 27
Incognito © 1998 oil/wood
Souvenir Demolition © 2003 gouache/paper | pg 62
Declaration © 2003 stainless steel
Runaway © 2002 ceramic tile | pg 47
Untitled 7 © 2000 monoprint
PHYLLIS FURDELL
ANDREA HAFFNER
ALEXANDRA HUTTINGER
ALEXANDRA HUTTINGER
JOANNE KENT
HARLEE LITTLE
MINNA NEWMAN NATHANSON
LYNN PUTNEY
ROBIN ROSE
Red Line Scene © 1992 pastel | pg 29
Untitled © 2002 mixed media
BRENDAN HOFFMAN
Anne Maddox © 2002 linoleum print | pg 27
Sarah Gudger © 2003 linoleum print | pg 27
Spontaneous Combustion © 1998 oil/wood | pg 19
DC Jazz: Nasar A © 2004 pigment print
Point of Agreement © 2003 stainless steel | pg 43
Gatekeeper © 2002 ceramic tile | pg 47
Untitled 8 © 2000 monoprint
JAVIER GIL
WILLIAM H. HARRIS III
DC Fish Market © 2006 photograph
ALEXANDRA HUTTINGER
MICHAEL DAX IACOVONE
KAREY ELLEN KESSLER
HARLEE LITTLE
WILLIAM A NEWMAN
LYNN PUTNEY
ROBIN ROSE
DC Metro II © 2004 charcoal | pg 48
Bird of Paradise © 2003 printed canvas/wood | pg 40
BRENDAN HOFFMAN
Angie Garrett © 2003 linoleum print | pg 27
A Walk Up U Street © 2006 photograph
Fragmented City © 2002 oil/canvas | pg 59
DC Jazz: Roney W © 2004 pigment print | pg 37
Nest Tape 14 © 2005 oil/wood | pg 26
Untitled 15 © 2000 monoprint | pg 20
SAM GILLIAM
SEAN HENNESSEY
Thirty-Four Years © 2006 photograph | pg 33
Hey, Rocky! (Better Get Another Hat) © 2002 ceramic tile | pg 47
ALEXANDRA HUTTINGER
MICHAEL DAX IACOVONE
JAE KO
MAXWELL MACKENZIE
NAÚL OJEDA
Steps and Folds © 1997 acrylic/panel | pg 38
The Illusion of Obstacles © 2005 mixed media | pg 42
KEVIN HOLDER
Betty Simmons © 2005 linoleum print | pg 27
Walking Down 14th Street © 2006 photograph | pg 50
Untitled Red © 2005 rolled paper/ink | pg 45
Tang © 2004 photograph
Boa Morte Sisterhood © 2003 oil/canvas | pg 29
Escaping from the Big City 20/25 © 1976 woodcut 17/30 | pg 73
Wishing Tree #3 © 2002 ceramic tile | pg 47
ALEXANDRA HUTTINGER
MICHAEL JANIS
MARTIN KOTLER
MAXWELL MACKENZIE
The Waters of Remembrance © 2006 cast glass | pg 44
Bard © 2004 photograph | pg 55
LYNN PUTNEY
International Market 3 © 2005 oil/canvas | pg 31
Pink & White, Back Yard View © 2003-2004 oil/linen | pg 63
NAÚL OJEDA
MAREMI HOOFF
Essex Henry © 2003 linoleum print | pg 27
Fisherman Fished 17/30 © 1979 woodcut 1/30
Untitled (Game) © 2002 ceramic tile | pg 47
ALEXANDRA HUTTINGER
FRANZ JANTZEN
LYNN PUTNEY
KAREN HUBACHER
Fallen © 2003 paper pulp painting | pg 10
Habitat I 18/25 © 2001 collograph | pg 13
There’s Still a Chance You Can Find It 5 © 2004 pigment print | pg 26
Cement Labyrinth 1/30 © 1978 woodcut 20/25
Sailor’s Warning © 2002 ceramic tile | pg 47
Two Poets with Champion © 1989-1992 oil/masonite | pg 25
ALEXANDRA HUTTINGER
C&O Canal: Mile 0: Panoramic View of the Tide-Lock at Rock Creek, Georgetown 2/30 © 1996 b/w toned silver prints | pg 57
NAÚL OJEDA
ELLEN HILL
Clay Bobbitt © 2002 linoleum print
Martin Jackson © 2002 linoleum print
VICTORIA RESTREPO
ALEXANDRA SILVERTHORNE
PRESCOTT MOORE LASSMAN
Radiografia #1 © 2001 acrylic/ink/paper | pg 69
MICHAEL B. PLATT
JUDY JASHINSKY
End of Pew © 2005 silver gelatin print | pg 36
The Calloways #4 3/5 © 1997 lithograph | pg 27
Dupont Circle #5 © 2006 silver gelatin print | pg 37
RAMON MENOCAL
Still Life with Hot Peppers 29 © 2005 acrylic/photograph | pg 70
Radiografia #2 © 2001 acrylic/ink/paper
TAI HWA GOH Under the Surface X © 2005 wood intaglio/handwaxed paper pg 71
MAX HIRSHFELD Robert Kairy, Washington, DC 3/15 © 2003 archival pigment print | pg 32
SEAN HENNESSEY From a Certain Point of View © 2005 mixed media | pg 42
J. LARRY GOLFER Boat Landing, Gravelly Point © 2006 epson digital print | pg 59
Breezin’ © 1994 oil/linen | pg 62
KAREN HUBACHER
Catch of the Day © 2003 encaustic/wood | pg 16
Blue Egg © 2003 paper pulp painting | pg 10
Habitat II 17/25 © 2001 collograph | pg 13
ALEXANDRA HUTTINGER
Ramon © 1992 oil/wood
Mary Armstrong © 2004 linoleum print | pg 27
JUDY JASHINSKY
PRESCOTT MOORE LASSMAN Offering of Gifts and Music © 2005 silver gelatin print
MAGGIE MICHAEL Phantom © 2003-2005 mixed media/canvas | pg 15
SIMON GOUVERNEUR
FELRATH HINES
KAREN HUBACHER
Two-Toe © 1988 egg tempera/acrylic/canvas | pg 4
Windows © 1982 monotype
Refuge I 20/25 © 2001 collograph | pg 13
ALEXANDRA HUTTINGER
John Moore © 1992 oil/wood | pg 28
Melissa Barden © 2002 linoleum print
JUDY JASHINSKY
PRESCOTT MOORE LASSMAN
Phillip Brookman © 1992 oil/wood
Church Pillars © 2005 silver gelatin print
REGINA M. MIELE
JACOB KAINEN
PRESCOTT MOORE LASSMAN
Alley Rear Corcoran © 2004 graphite | pg 60
Blue Cocoon 6/30 © 1976 etching | pg 9
Benediction in Music © 2005 silver gelatin print
KAREN HUBACHER
Haute des Forêts © 2004 oil/canvas | pg 54
Open Ended © 1982 monotype | pg 8
Refuge II 18/25 © 2001 collograph | pg 13
ALEXANDRA HUTTINGER
TOM GREEN
JAMES HUCKENPAHLER
W.L. Bost © 2002 linoleum print | pg 27
In Red © 2004 acrylic/canvas | pg 6
Untitled © 2004 digital print | pg 18
76
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CITY HALL ART COLLECTION
Bordado © 2006 acrylic/canvas | pg 71
JOE SHANNON
RAMON MENOCAL
ELLEN HILL
FELRATH HINES
Life Force © 2005 stoneware/reeds | pg 42
PATRICIA SECCO
JOEY P. MÁNLAPAZ BRIDGET SUE LAMBERT
PAT GOSLEE
FREYA GRAND
RIMA SCHULKIND LYNN PUTNEY
MICHAEL B. PLATT The Calloways #5 3/5 © 1997 lithograph | pg 27
ALEXANDRA SILVERTHORNE ANIL REVRI
LYNN PUTNEY
Geometric Abstraction #1 © 2003 mixed media/handmade paper pg 68
Satellite © 2002 ceramic tile | pg 47
ANIL REVRI
LYNN PUTNEY Low Tide © 2002 ceramic tile | pg 47
Geometric Abstraction #2 © 2003 mixed media/handmade paper pg 68
Malcolm X Park #2 © 2006 silver gelatin print
ALEXANDRA SILVERTHORNE Fletcher’s Boathouse #7 © 2006 silver gelatin print
ELLEN SINEL Flowering Dune Grasses © 2005 oil/wood | pg 56
HEART OF DC
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ACKNOWLEDGEMENTS
C O L L E C T I O N C H E C K L I S T | Index
STEVEN J. STICHTER
ELLYN R. WEISS
Seven Seasons Redux © 2004 quilt | pg 46
Twelve Linear Feet © 2004 oilbar/pastel/paper | pg 17
5TH FLOOR CEREMONIAL HALLWAY SPECIAL COLLECTION
RENÉE STOUT
JOSEPH P. WHITE
STARMANDA BULLOCK
3 Erzulies, Calling 10/47 © 2004 silkscreen | pg 30
Ritz Carlton © 2005 oil | pg 64
Les Visions Japonaises de Paris/Une Serie of Fluers at Leurs Applications Decoratives © 1993 gouache/mixed media
RENÉE STOUT
ANDY MOON WILSON
Peter’s Numbers © 2004 mixed media assemblage | pg 41
Vaulted © 2005 ink/paper | pg 20
LOU STOVALL
ANDY MOON WILSON
L’Amore Di Fiori 34/75 © 1996 silkscreen | pg 31
Dark Age © 2005 ink/paper
MICHAEL CLARK & FELICITY HOGAN NAFTA Oranges © 2003 acrylic/oil/canvas
JOHN WINSLOW
Arlington Mud Puddle 2/5 © 2004 cibachrome print | pg 58
Sunday at the Ontological Theater © 2005 oil/canvas | pg 24
TIM TATE 9 Paths to Healing © 2004 glass/steel | pg 44
ANDREW WODZIANSKI
Zebra Swim © 2005 acrylic/canvas | pg 16
78
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LIANI FOSTER
JOHN A. WILSON PORTRAIT
A Little Bit of This, A Little Bit of That © 2003 digital photo collage
WALTER KRAVITZ Birth of the Quiet One © 2003 watercolor
H Street Construction © 1993 acrylic/paper
DC Excavation © 1990 acrylic/paper
ANNE MARCHAND Westminster Street © 2002 oil/canvas
ANITA PHILYAW
Fourth of July © 2001 oil/linen | pg 61
GENE DAVIS
YURIKO YAMAGUCHI
Graf Zeppelin © 1969 silkscreen
Apples at the End of the Day © 2003 acrylic/canvas
Web Desire © 2000 lithograph | pg 21
GENE DAVIS
SYLVIA SNOWDEN
DAVID N. YERKES
King Kong © 1969 silkscreen
Doors © 2004 mixed media | pg 12
Malik, Farewell ‘Till We Meet Again XXXVI © 1999 mixed media
GENE DAVIS
DAVID N. YERKES
Bulletproof 43/150 © 1969 silkscreen
Green Stripe © 1998 mixed media | pg 12
GENE DAVIS
Malik, Farewell ‘Till We Meet Again VII © 1999 mixed media
SARA YERKES
John Barley Corn 43/150 © 1969 silkscreen
LANGLEY SPURLOCK
REX WEIL Fast & Bulbous © 1995 india ink/paper | pg 22
Tarzan 43/150 © 1969 silkscreen
SHARON WOLPOFF
REX WEIL Advance © 1995 india ink/paper | pg 22
GENE DAVIS
Jack-in-the-Box © 1969 silkscreen
F. L. WALL Pink Moon © 2005 mixed media | pg 39
Vachon Zenit © 2003 digitally modified drawing
VAL E. LEWTON
GENE DAVIS
RODERICK TURNER A Mother’s Love © 2002 watercolor | pg 28
Persistence © 2003 mixed media
MD1BD4 © 2005 oil/canvas | pg 35
KATURAH L. THOMAS
LANGLEY SPURLOCK
DC StreetScapes Series: 7-9th & T Street, 1972 © 2003 digital photo collage
VAL E. LEWTON BETSY DAMOS
BENJAMIN C TANKERSLEY
LIANI FOSTER
Avian © 1996 mixed media | pg 43
CITY HALL ART COLLECTION
SYLVIA SNOWDEN
Fireman 010304C © 2003 digitally modified drawing
SIMMIE KNOX © 2006 oil/canvas
DC COMMISSION ON THE ARTS AND HUMANITIES
CITY HALL ART COLLECTION COORDINATORS Anthony Gittens Executive Director Sondra N. Arkin Collection Curator Rachel Dickerson Art in Public Places Manager Charlotte Day Hoffman Art Bank Coordinator Carolyn Parker Public Art Assistant EXHIBITION SELECTION PANEL
Betty Akers Chief, Ceremonial Services, Office of the Secretary of the District of Columbia Patricia Elwood Secretary of the District of Columbia George Koch Commissioner Jack Rasmussen Director and Curator, American University Museum Jacquelyn Serwer Supervisory Museum Curator, Smithsonian Institution National Museum of African American History and Culture Alec Simpson Executive Director, Dance Institute of Washington Ira E. Stohlman Secretary to the Council of the District of Columbia
DC COMMISSION ON THE ARTS AND HUMANITIES COMMISSIONERS
WILSON BUILDING OFFICE OF PROPERTY MANAGEMENT
Dorothy Pierce McSweeny Chair Felix Angel Jane Lipton Cafritz Carl Cole Lou Durden Jay Gates Teresa Ghiglino George Koch E. Ethelbert Miller Franklin Odo Marsha Ralls Gertrude Saleh Maurice Shorter David Umansky Gail Berry West Lavinia Wohlfarth Monica Wroblewski
Alyssa Turner
DISTRICT OF COLUMBIA CITY COUNCIL
Linda W. Cropp Chairman Sharon Ambrose Marion Barry Kwame R. Brown David Catania Jack Evans Adrian Fenty Jim Graham Vincent C. Gray Phil Mendelson Vincent Orange Kathleen Patterson Carol Schwartz
PHOTOGRAPHY
Chad Dowling Gregory Staley PRINTING
FRAMING
ARCHIVAL ART SERVICES Bill Butler Kate McGraw Crawford Pile Reid Grigsby Chris Brooks Jane Quadri
ART & FRAME Dana Rapallo Victor Nasir
DALEY’S ART SERVICES Eglon Daley
MICKELSON’S FINE ART FRAMING Otho Branson Kate Cushman Laura Graham Charlie Jones Wayne Long Claudia Minicozzi William Parker COMMEMORATIVE BOOK
F. Lennox Campello David Furchgott Johanna Halford-MacLeod Jack Rasmussen Claudia Rousseau Julia Morelli, Editorial Assistant Mary Beth Ramsey, Design
Jarboe Printing SPECIAL THANKS
TO ALL OF THE ARTISTS PLUS . . . Philip Barlow Jonathan Binstock Ebony Blanks Tony Bullock Ron Childress Michael Cover Eric Denker Dorothy Fisher Kate Fraser Helen Frederick Sharon Gang Christena Hambrick George Hemphill Martin Irvine Nevin Kelly Vivienne Lassman Alexandra MacMaster Naureen Meyer Vince Morris Penny Ojeda Andrea Pollan Lisa Richards Lionell Thomas Kim Ward
HEART OF DC
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ACKNOWLEDGEMENTS
C O L L E C T I O N C H E C K L I S T | Index
STEVEN J. STICHTER
ELLYN R. WEISS
Seven Seasons Redux © 2004 quilt | pg 46
Twelve Linear Feet © 2004 oilbar/pastel/paper | pg 17
5TH FLOOR CEREMONIAL HALLWAY SPECIAL COLLECTION
RENÉE STOUT
JOSEPH P. WHITE
STARMANDA BULLOCK
3 Erzulies, Calling 10/47 © 2004 silkscreen | pg 30
Ritz Carlton © 2005 oil | pg 64
Les Visions Japonaises de Paris/Une Serie of Fluers at Leurs Applications Decoratives © 1993 gouache/mixed media
RENÉE STOUT
ANDY MOON WILSON
Peter’s Numbers © 2004 mixed media assemblage | pg 41
Vaulted © 2005 ink/paper | pg 20
LOU STOVALL
ANDY MOON WILSON
L’Amore Di Fiori 34/75 © 1996 silkscreen | pg 31
Dark Age © 2005 ink/paper
MICHAEL CLARK & FELICITY HOGAN NAFTA Oranges © 2003 acrylic/oil/canvas
JOHN WINSLOW
Arlington Mud Puddle 2/5 © 2004 cibachrome print | pg 58
Sunday at the Ontological Theater © 2005 oil/canvas | pg 24
TIM TATE 9 Paths to Healing © 2004 glass/steel | pg 44
ANDREW WODZIANSKI
Zebra Swim © 2005 acrylic/canvas | pg 16
78
|
LIANI FOSTER
JOHN A. WILSON PORTRAIT
A Little Bit of This, A Little Bit of That © 2003 digital photo collage
WALTER KRAVITZ Birth of the Quiet One © 2003 watercolor
H Street Construction © 1993 acrylic/paper
DC Excavation © 1990 acrylic/paper
ANNE MARCHAND Westminster Street © 2002 oil/canvas
ANITA PHILYAW
Fourth of July © 2001 oil/linen | pg 61
GENE DAVIS
YURIKO YAMAGUCHI
Graf Zeppelin © 1969 silkscreen
Apples at the End of the Day © 2003 acrylic/canvas
Web Desire © 2000 lithograph | pg 21
GENE DAVIS
SYLVIA SNOWDEN
DAVID N. YERKES
King Kong © 1969 silkscreen
Doors © 2004 mixed media | pg 12
Malik, Farewell ‘Till We Meet Again XXXVI © 1999 mixed media
GENE DAVIS
DAVID N. YERKES
Bulletproof 43/150 © 1969 silkscreen
Green Stripe © 1998 mixed media | pg 12
GENE DAVIS
Malik, Farewell ‘Till We Meet Again VII © 1999 mixed media
SARA YERKES
John Barley Corn 43/150 © 1969 silkscreen
LANGLEY SPURLOCK
REX WEIL Fast & Bulbous © 1995 india ink/paper | pg 22
Tarzan 43/150 © 1969 silkscreen
SHARON WOLPOFF
REX WEIL Advance © 1995 india ink/paper | pg 22
GENE DAVIS
Jack-in-the-Box © 1969 silkscreen
F. L. WALL Pink Moon © 2005 mixed media | pg 39
Vachon Zenit © 2003 digitally modified drawing
VAL E. LEWTON
GENE DAVIS
RODERICK TURNER A Mother’s Love © 2002 watercolor | pg 28
Persistence © 2003 mixed media
MD1BD4 © 2005 oil/canvas | pg 35
KATURAH L. THOMAS
LANGLEY SPURLOCK
DC StreetScapes Series: 7-9th & T Street, 1972 © 2003 digital photo collage
VAL E. LEWTON BETSY DAMOS
BENJAMIN C TANKERSLEY
LIANI FOSTER
Avian © 1996 mixed media | pg 43
CITY HALL ART COLLECTION
SYLVIA SNOWDEN
Fireman 010304C © 2003 digitally modified drawing
SIMMIE KNOX © 2006 oil/canvas
DC COMMISSION ON THE ARTS AND HUMANITIES
CITY HALL ART COLLECTION COORDINATORS Anthony Gittens Executive Director Sondra N. Arkin Collection Curator Rachel Dickerson Art in Public Places Manager Charlotte Day Hoffman Art Bank Coordinator Carolyn Parker Public Art Assistant EXHIBITION SELECTION PANEL
Betty Akers Chief, Ceremonial Services, Office of the Secretary of the District of Columbia Patricia Elwood Secretary of the District of Columbia George Koch Commissioner Jack Rasmussen Director and Curator, American University Museum Jacquelyn Serwer Supervisory Museum Curator, Smithsonian Institution National Museum of African American History and Culture Alec Simpson Executive Director, Dance Institute of Washington Ira E. Stohlman Secretary to the Council of the District of Columbia
DC COMMISSION ON THE ARTS AND HUMANITIES COMMISSIONERS
WILSON BUILDING OFFICE OF PROPERTY MANAGEMENT
Dorothy Pierce McSweeny Chair Felix Angel Jane Lipton Cafritz Carl Cole Lou Durden Jay Gates Teresa Ghiglino George Koch E. Ethelbert Miller Franklin Odo Marsha Ralls Gertrude Saleh Maurice Shorter David Umansky Gail Berry West Lavinia Wohlfarth Monica Wroblewski
Alyssa Turner
DISTRICT OF COLUMBIA CITY COUNCIL
Linda W. Cropp Chairman Sharon Ambrose Marion Barry Kwame R. Brown David Catania Jack Evans Adrian Fenty Jim Graham Vincent C. Gray Phil Mendelson Vincent Orange Kathleen Patterson Carol Schwartz
PHOTOGRAPHY
Chad Dowling Gregory Staley PRINTING
FRAMING
ARCHIVAL ART SERVICES Bill Butler Kate McGraw Crawford Pile Reid Grigsby Chris Brooks Jane Quadri
ART & FRAME Dana Rapallo Victor Nasir
DALEY’S ART SERVICES Eglon Daley
MICKELSON’S FINE ART FRAMING Otho Branson Kate Cushman Laura Graham Charlie Jones Wayne Long Claudia Minicozzi William Parker COMMEMORATIVE BOOK
F. Lennox Campello David Furchgott Johanna Halford-MacLeod Jack Rasmussen Claudia Rousseau Julia Morelli, Editorial Assistant Mary Beth Ramsey, Design
Jarboe Printing SPECIAL THANKS
TO ALL OF THE ARTISTS PLUS . . . Philip Barlow Jonathan Binstock Ebony Blanks Tony Bullock Ron Childress Michael Cover Eric Denker Dorothy Fisher Kate Fraser Helen Frederick Sharon Gang Christena Hambrick George Hemphill Martin Irvine Nevin Kelly Vivienne Lassman Alexandra MacMaster Naureen Meyer Vince Morris Penny Ojeda Andrea Pollan Lisa Richards Lionell Thomas Kim Ward
HEART OF DC
|
79
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410 8TH STREET, NW, 5TH FLOOR | WASHINGTON, DC 20004 |
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202-724-5613
DCC-297 HoDC_Cover:Cover
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Š 2006, DC Commission on the Arts and Humanities. All trademarks are property of their respective owners. DC Creates Public Art Program is an endeavor of the DC Commission on the Arts and Humanities.
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HEART OF DC John A.Wilson Building CITY HALL ART COLLECTION