In the following, website page selections (on bars above) are represented in blue.

Browse regions to see maps for gallery locations and to review monthly show listings.

Click on a map, image or ad to view an enlarged version. You may also use your zoom-in view to enlarge text or images.

View the present magazine edition cover and information.

Pdf (magazine page) views of 2015  issues can be opened under .pdf/past print editions.

About provides standard publishing information as well as ad rates for galleries magazine.

Highlighted text links to additional information, individual gallery and other websites.

Alternative Focus features commentary on developments within the local arts scene and an archive of past pieces.



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Small Art Sensations at $175 or Less


Wednesday – Friday 11 – 6, Saturday – Sunday 12 – 5


Touchstone Gallery

901 New York Avenue, NW
(1 block north of City CenterDC)
Washington DC 20001




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At the Hirshhorn in December

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NORMAN BLUHM, Talkhouse Hill (detail), 1966, oil on canvas, 84 x 72 inches, The Collection of Vincent Melzac 

November 29 – December 4, 2016

Booth C307

1013 O ST., NW, WASHINGTON, DC 20001 ::::: PHONE: + 202 – 588 – 8750 :::::info@CONNERSMITH.US.COM





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Tracy’s Kids at Carroll Square

By Tracy’s Kids

December 9, 2016 – February 24, 2017

Opening Reception: Friday, December 9, 4:30 – 6:30pm

Carroll Square Gallery
975 F Street NW, Washington DC 20004

Gallery Open During Business Hours
Monday through Friday, 8:00am – 6:00pm
Closed December 24 – 26 and December 31 – January 1 for the Winter Holidays.

Tracy’s Kids Art Therapy Program helps young cancer patients and their families cope with the emotional stress and trauma of cancer and its treatment. Our mission is to ensure that the children and families we serve are emotionally equipped to fight cancer as actively as possible—and prepared for the time when they are cancer free.

Tracy’s Kids uses art therapy to engage with young patients, their siblings and parents so that they can express feelings and reflect on their treatment experiences. The program—which began at the Lombardi Cancer Center in 1991 and is based on the model developed there—employs Master’s trained, Board Certified art therapists to address the multi-faceted needs of children with cancer through art and play therapy. The Art Therapists work directly with physicians, nurses and other medical personnel and are integrated as members of each child’s treatment team.

Today, well over 70% of children diagnosed with cancer will beat the disease and live the overwhelming majority of their lives cancer free. Tracy’s Kids is dedicated to helping to ensure that the children we serve are ready to live full, happy and healthy lives.

The program—which is offered at no charge to the patient and his or her siblings—works in hospitals, freestanding clinics and other appropriate settings. Our goal is to provide a child-centered, open studio approach for inpatients and outpatients and to interact with the children while they are receiving infusions and other treatments. We welcome the chance to work with siblings and parents because we know that the entire family is affected when a child has cancer.

The Tracy’s Kids program locations are Medstar Georgetown University Hospital’s Lombardi Cancer Center, Children’s National Medical Center, the PSV Center for Cancer and Blood Disorders of Northern Virginia, New York Presbyterian Hospital, Methodist Children’s Hospital in San Antonio, Texas, Inova Children’s Hospital in Fairfax, VA, and Sinai Hospital in Baltimore. To learn more about us, visit us at or email

Tracy’s Kids Combined Federal Campaign (CFC) #21655.

Image: Painting by Elise, age 6, acrylic on canvas board, 16″ x 20″




This exhibition is sponsored by Akridge and Seaton & Benkowski Partners <br> in collaboration with Hemphill Fine Arts.


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Exhibition at the Phillips Features Remarkable Collection of Prints and Posters Illustrating Parisian Life during the Belle Époque

photo JaneAvril_zpsivmln9af.pngIn a special exhibition opening on February 4, The Phillips Collection presents an extraordinary selection of Henri de Toulouse-Lautrec’s iconic and rare printed works from nearly the entire period of his lithographic career (1891–1899). An inaugural collaboration with the Montreal Museum of Fine Arts (MMFA), Toulouse-Lautrec Illustrates the Belle Époque assembles, for the first time in the United States, close to 100 defining images of late-19th-century Montmartre, drawn from one of the leading collections of prints and posters by Toulouse-Lautrec.

The son of a wealthy noble family from Albi, France, Henri de Toulouse-Lautrec (1864–1901) is best known for capturing the heart of Parisian nightlife in dynamic cabaret and dance hall scenes inspired by the city’s burgeoning entertainment district. After training with academic painters in Paris, he established a studio in bohemian Montmartre and was regularly seen at lively hot spots like the Chat Noir, the Mirliton, and the Moulin Rouge. His impressions of these local amusements fashioned a portrait of modern life.

Toulouse-Lautrec’s arrival in Paris also coincided with both revival and innovation in the technology of color lithography. The sheer scale of the posters plastered around the city transformed Paris into an open air exhibition while limited-edition lithographs and print albums designed for the home catered to the new collector. This exhibition highlights Toulouse-Lautrec’s embrace of printmaking and his experiments with the medium that revolutionized the field.

“I am delighted for the Phillips to exhibit such a rich collection of printed works by Henri de Toulouse-Lautrec, who forever changed and shaped the art of lithography,” said Director Dorothy Kosinski. “This is a rare opportunity to see such a large collection that captures a defining moment in the artist’s printmaking career on view in the United States.”

photo MoulinRougeLaGoulue_zps8kngmk2k.pngIncluded in the special exhibition at the Phillips is Toulouse-Lautrec’s first lithograph, the poster Moulin Rouge La Goulue (1891), which made him an overnight success. Produced in some 3,000 impressions, the poster’s massive scale, fragmented forms, compressed pictorial space, and range of colors broke new ground. By presenting this significant work alongside a unique trial proof in black and white, the exhibition provides a glimpse into the artist’s highly involved printmaking process. Other special features on view include never-before-published trial proofs, unique images, and rare prints brought together with richly colored final impressions. Many of the posters were commissioned by famous performers like Jane Avril, May Belfort, Aristide Bruant, May Milton, and La Goulue. These personalities, among others, are brought to life through Toulouse-Lautrec’s perceptive skills of observation and caricature. By maximizing the impact of just a few details, their celebrity was immortalized in these masterful works that caught the public’s attention.

“This show is special because it not only features an impressive number of familiar images, but by displaying trial proofs, it also offers visitors a behind-the-scenes look at the genius of Toulouse-Lautrec’s printmaking process.”said Renée Maurer, Associate Curator at the Phillips.

“Having attracted 145,000 visitors to the Montreal Museum of Fine Arts, the exhibition Toulouse-Lautrec Illustrates the Belle Époque was a great success, one that I hope our partners from The Phillips Collection will also enjoy in this first collaboration, thanks to an exceptional collection,” said Nathalie Bondil,  Director General and Chief Curator at the Montreal Museum of Fine Arts. “The Paris of the Belle Époque is paraded before our eyes. What a privilege to be able to exhibit these rarely shown unique posters by Toulouse-Lautrec.”

The exhibition also includes additional works by Toulouse-Lautrec’s contemporaries, such as Théophile Alexandre Steinlen’s famous poster Tournée du Chat Noir (1896) and Louis Anquetin’s never-before-exhibited painting Inside Bruant’s Mirliton (1886–1887). Once considered lost, with only preliminary drawings as evidence of its existence, Anquetin’s large format painting invites viewers inside Aristide Bruant’s lively cabaret Mirliton, where Toulouse-Lautrec, Bruant, and Émile Bernard watch entertainer La Goulue perform.

Coming to Washington, DC, after its engagement at the MMFA, Toulouse-Lautrec Illustrates the Belle Époque is on display at the Phillips February 4 through April 30, 2017.

During his lifetime, museum founder Duncan Phillips acquired four works on paper by Toulouse-Lautrec. His first purchase made in 1927 was the lithograph Miss May Belfort (grande planche) (1895). In 1939, Phillips presented the museum’s only previous exhibition of Toulouse-Lautrec’s art, containing 55 works (drawings, prints, and paintings) sourced from the Art Institute of Chicago and private collections. Toulouse-Lautrec Illustrates the Belle Époque marks the first solo showing of the artist’s work at the Phillips in nearly 80 years. As a complement to the exhibition, an installation of work by Toulouse-Lautrec’s contemporaries will be on view in nearby permanent collection galleries.

Toulouse-Lautrec Illustrates the Belle Époque is accompanied by a 134‐page catalogue containing 120 color illustrations, an essay by French art historian Gilles Genty on the social milieu of Toulouse-Lautrec, and an essay on the artist’s use of lithography by Hilliard T. Goldfarb, the MMFA’s Senior Curator–Collections and Curator of Old Masters. A detailed chronology of the artist’s life prepared by Phillips Associate Curator Renée Maurer and a description of the legendary personalities of Montmartre are also included.

This book is published in English and French editions by the MMFA (main publisher) and The Phillips Collection (associate publisher) in collaboration with Les Éditions Hazan, Paris (associate publisher). The English edition is distributed by Yale University Press.

The exhibition is organized by the Montreal Museum of Fine Arts and The Phillips Collection.

The Phillips Collection, America’s first museum of Modern art, is one of the world’s most distinguished collections of Impressionist and Modern American and European art. Stressing the continuity between art of the past and present, it offers a strikingly original and experimental approach to Modern art by combining works of different nationalities and periods in displays that change frequently. The setting is similarly unconventional, featuring small rooms, a domestic scale, and a personal atmosphere. Artists represented in the collection include Pierre-Auguste Renoir, Vincent van Gogh, Edgar Degas, Henri Matisse, Pierre Bonnard, Paul Cézanne, Pablo Picasso, Paul Klee, Claude Monet, Honoré Daumier, Georgia O’Keeffe, Arthur Dove, Mark Rothko, Milton Avery, Jacob Lawrence, and Richard Diebenkorn, among others. The permanent collection has grown to include more than 1,000 photographs, many by American photographers Berenice Abbott, Esther Bubley, and Bruce Davidson, and works by contemporary artists such as Anselm Kiefer, Wolfgang Laib, Whitfield Lovell, and Leo Villareal. The Phillips Collection regularly organizes acclaimed special exhibitions, many of which travel internationally. The Phillips also produces award-winning education programs for K–12 teachers and students, as well as for adults. The University of Maryland Center for Art and Knowledge at The Phillips Collection is the museum’s nexus for academic work, scholarly exchange, and interdisciplinary collaborations. Since 1941, the museum has hosted Sunday Concerts in its wood-paneled Music Room. The Phillips Collection is a private, non-government museum, supported primarily by donations.

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OAS F Street Gallery

José Diniz of Brazil
Sertão Cerrado

On view November 14, 2016 – January 27, 2017
OAS F Street Gallery
1889 F Street, NW, Washington DC 20006

By appointment only, Mon-Fri from 9am to 5pm
Please call 202-370-0151

The OAS AMA | Art Museums of the Americas proudly presents Sertão Cerrado, an exhibition of photographs by Brazilian artist José Diniz. Sertão refers to backland region located inside the country, far from the coast. The Cerrado occupies much of the interior. The region has a great potential of water feeding the aquifers and hydrographic basins responsible for the supply to major cities. The Cerrado has a cycle of fire and water, after periods of drought and fire, explodes green and flowers, from the ashes. Diniz’s photographs originated from the want to describe the interior as a counterpoint the sea. The investigation led to an exhibition representing four elements of nature: earth, water, fire and air.

As part of the OAS’s Secretariat of Hemispheric Affairs, AMA aims to highlight the four OAS pillars– democracy, human rights, security, and development—through the visual arts of its member countries. With Sertão Cerrado, the artist’s inventive yet familiar images address the need to protect our environment, developing in a way that is sustainable to the resources necessary for survival.

This exhibition is part of FotoWeekDC. Over the past several years, FotoWeek DC has earned its reputation for evoking discussion on relevant social issues. AMA has now participated in FotoWeek DC for each of the festival’s nine years.

José Diniz was born in Niterói and lives in Rio de Janeiro. He studied photography at UCAM (Cândido Mendes University) in Rio de Janeiro. He has published the books “Perpiscore” and “Literariamente” on his photography. In 2012 he received the Marc Ferrez Photography Prize – FUNARTE (National Art Foundation, Ministry of Culture) with the project “Maresia.” In 2011, he participated in the exhibition “International Discoveries III,” a biennial selection of 12 photographers curated by FotoFest. He has held solo exhibitions throughout the western hemisphere. He is represented by the DOC Galeria, Escritório de Fotografia, São Paulo; and ArtMedia Gallery, Miami.

AMA | Art Museum of the Americas’ work is based on the principle that the arts are transformative for individuals and communities.  This belief simultaneously serves to promote the core values of the Organization of American States (OAS) and its Secretariat of Hemispheric Affairs (SHA) by providing a space for cultural expression, creativity, dialogue and learning, highlighting themes such as democracy, development, human rights, justice, freedom of expression, and innovation.  AMA’s work advances the inter-American agenda, drawing on the arts to showcase a constructive vision of the future of the Americas via local and hemispheric cultural exchange.  This is achieved by showcasing cutting-edge exhibits of artists whose output creatively combine aesthetics with topical social and political issues and by establishing a dialogue of these works with AMA’s Permanent Collection.

The OAS F Street Gallery is accessible from the street level by elevator. For any accessibility information or concerns, please contact or 202 370 0147.


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Artists United!


The On Exhibit page of The Washington Post’s Weekend Section is reserved for listing Museum exhibits only

It’s a hard-and-fast rule that, as far as I know, has never been broken.

But this weekend it was, for reasons that could reflect nothing more than an editor’s whim. Or, more likely, signal a sea change in what’s expected of art,what art’s purpose is, that could influence the trajectory of art for the whole of the 21st Century.

Let me explain.

To my total surprise and utter amazement, the On Exhibit page, published last Friday, not only listed ARTISTS UNITED!, the exhibit was featured on the page. That’s The Post’s way of saying “this is something you ought to see. It’s more interesting and more important” than the other exhibits we’re listing here. You know, the ones at The National Gallery of Art, the Sackler, the Phillips and all of Washington’s other great museums.

Without question, the ARTISTS UNITED! listing was a tribute to the 40-some artists whose visually interesting and thought-provoking art allows the exhibit to present a clear and unforgettable picture of what’s at stake in the coming election. 

But the listing was, I think, doubly significant because it was recog-nition, by what is still one of the world’s most important and influ-ential sources of information, that art that’s timely, relevant and that helps us understand the most con-tentious political issues of the day is a legitimate genre of art that should be taken seriously by this country’s important museums and prominent private galleries, as well as by collectors and the public at large.



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December 2016 at the Phillips

Admission: $12 for adults; $10 for students as well as visitors 62 and over; free for members and visitors 18 and under
Jan. 8, 2017
People on the Move: Beauty and Struggle in Jacob Lawrence’s Migration Series
The Phillips Collection reunites all 60 panels of The Migration Series, Jacob Lawrence’s seminal masterwork depicting the mass movement of African Americans from the rural South to the urban North between the World Wars. Shaped by an interdisciplinary team of scholars, this exhibition explores the historical, literary, socio-cultural, aesthetic, and contemporary manifestations of migration that underlie Lawrence’s powerful visual narrative. The presentation is complemented by a new interactive website, featuring the artist’s first-hand accounts as well as contemporary responses to migration. A variety of community events will further engage visitors in the multifaceted story of the Great Migration from the rich perspectives of music, theater, dance, and poetry.
Jan. 8, 2017
Whitfield Lovell: The Kin Series & Related Works
The work of internationally recognized American artist Whitfield Lovell (b. 1959, Bronx, New York) powerfully examines “the markings that the past has made—and continues to make—on who we are.” In his exquisitely crafted Kin series and related tableaux, Lovell combines freely drawn Conté crayon figures of anonymous African Americans with time worn objects from everyday life, such as a brooch, clock, or flag. Lovell’s poetic combinations “transgress cultural or racial boundaries” in their exploration of identity, heritage, memory, and our collective American past. This exhibition of 40 works features selections from the Kin series in dialogue with some of his finest related works.
Admission for all other art on view:

Weekends: $12 for adults, $10 for students as well as visitors 62 and over; free for members and visitors 18 and under; FREE weekdays, includes permanent collection
Contemporary art projects inspired by the art and spaces in The Phillips Collection
May 7, 2017
Arlene Shechet: From Here On Now
New York-based sculptor Arlene Shechet is known for glazed ceramic sculptures that are off-kilter yet hang in a balance between stable and unstable, teetering between the restraint of intellect and the insistence of instinct. Her sculptures encourage circumambulation, often drawing upon Buddhist iconography for inspiration. For this installation, Shechet’s sculptures in ceramic, porcelain, and paper are exhibited across five galleries on two different floors of the museum, extending from the original house to the annex. It includes six recently conserved paintings by Forrest Bess, received as a gift from Miriam Schapiro Grosof in 2014, and on view at the Phillips for the first time. A portion of the exhibition concludes in February 2017.
Dec. 11, 2016
Art and Wellness: Creative Aging
This exhibition features artwork by older adults from Iona’s Wellness & Arts Center in collaboration with The Phillips Collection. The program encourages people with memory impairment or chronic illness, and their caregivers, to connect with each other through art therapy and conversations in the Phillips galleries.
April 2, 2017
One-on-One: Enrique Martínez Celaya / Albert Pinkham Ryder
This installation juxtaposes several paintings from the Phillips’s permanent collection by American Romantic painter Albert Pinkham Ryder (1847–1917) with The First Kierkegaardby Cuban-born American artist Enrique Martínez Celaya. Trained as an artist as well as a physicist, Martínez Celaya’s work examines the complexities and mysteries of individual experience—particularly in relation to nature and time—and explores the questions of the human condition through diverse knowledge systems as well as literature, poetry, and art.
Nov. 19
April 2, 2017
Jake Berthot: From the Collection and Promised Gifts
The Phillips Collection has long had a special relationship with Jake Berthot (1939–2014), whose introspective paintings have been described as visual poetry. In 1996, the museum organized an exhibition of his work, and in 2015 received a major bequest from the artist’s estate. Including promised gifts, the Phillips now holds 25 paintings, drawings, and prints by Berthot, the largest and most important “unit” of this artist’s work in a museum collection.
April 2017
Women of Influence: Elmira Bier, Minnie Byers, and Marjorie Phillips
Exhibited just outside the museum’s library, Women of Influence examines the critical roles played by three women in the Phillips’s history—Duncan Phillips’s executive assistant Elmira Bier, financial advisor Minnie Byers, and Phillips’s wife and museum co-founder Marjorie Phillips.
Ongoing One of the world’s finest collections of modern and contemporary American and European art, the museum is home to Pierre-Auguste Renoir’s iconic Luncheon of the Boating Party, Jacob Lawrence’s epic Migration Series, and a chapel-like Rothko Room, as well as innovative new work by artists of today, including a wax room by Wolfgang Laib. Installations change frequently and are not chronological, sparking conversations across time and place.
Reservations strongly recommended as this popular event tends to sell out in advance: $12; $10 for visitors 62 and over and students. Members always admitted free, no reservation needed.
5–8:30 pm Kinship
Come explore the relationships in Whitfield Lovell: The Kin Series and Related Works and connect with others during an art activity inspired by works in the special exhibition.
Gallery Talk

6, 6:30, 7,
& 7:30 pm
15-minute focused discussions about works in the museum’s permanent collection
Curator’s Perspective
Dec. 15
6:30 pm
People on the Move: Beauty and Struggle in Jacob Lawrence’s Migration Series
In conjunction with the fall special exhibition, Curator Elsa Smithgall discusses Lawrence’sMigration Series and the themes of struggle and freedom represented in the 60 panels that continue to resonate in the human experience today. Included in admission to special exhibition; free for members.
Curator’s Perspective
Dec. 15
7:30 pm
Whitfield Lovell: The Kin Series and Related Works
Curator Elsa Smithgall provides an overview of Whitfield Lovell’s work, including how the artist explores issues of identity and cultural memory. Included in admission to special exhibition; free for members.
Introduction to The Phillips Collection
Highlights from one of the finest collections of Impressionist and Modern American and European art. Included in museum admission; free for members.
1 pm
Introduction to Jacob Lawrence and Whitfield Lovell
Highlights from The Phillips Collection’s special exhibitions featuring the work of Jacob Lawrence and Whitfield Lovell. Included in admission to special exhibition; free for members.
Spotlight Talks
Focused discussion about a work of art from the permanent collection or special exhibition.Included in museum admission; free for members.
Dec. 8 & 22
6 & 7 pm
Whitfield Lovell: The Kin Series and Related Works
Focused discussion about works of art from the special exhibition. Included in admission to special exhibition; free for members.
Dec. 15 & 29
6 & 7 pm
People on the Move: Beauty and Struggle in Jacob Lawrence’s Migration Series
Focused discussion about works of art from the special exhibition. Included in admission to special exhibition; free for members.
Concerts are held in the Music Room at 4 pm. $40, $20 for members and students with ID (unless otherwise noted); includes museum admission for the day of the concert. Reservations strongly recommended:
Dec. 4 Carter Brey and Benjamin Pasternack
Cellist Carter Brey and pianist Benjamin Pasternack make their Phillips debut with selections by Robert Schumann, Leonard Berstein, Elliot Carter, Leon Kirchner, and Frédéric Chopin.
Dec. 11 Alexander Sitkovetsky and Wu Qian
Violinist Alexander Sitkovetsky and pianist Wu Qian make their DC debut with selections by Robert Schumann, Manuel de Falla, Alfred Schnittke, and Edvard Grieg.
Dec. 18 Stewart Goodyear
Canadian pianist Stewart Goodyear returns to The Phillips Collection after his noteworthy re-creation last season of Glenn Gould’s iconic 1955 recital at the Phillips. This year, he brings the perfect musical Christmas concert with his own arrangement of Tchaikovsky’sNutcracker.
Dec. 2
8 pm
University of Maryland and Derek Bermel at Dekelboum Concert Hall
The UMD School of Music Symphony Orchestra performs Derek Bermel’s Migration Series, joined onstage by UMD’s Jazz Band, Chamber Singers, and Wind Orchestra. Tickets are $25, $20 for The Clarice NextLEVEL subscribers, $10 for students:
Dec. 8
6 pm
Zhou Long
Leading International Composer Zhou Long from China is joined by the ensemble Music From China in a performance in partnership with the Cultural Office of the Embassy of the People’s Republic of China. Tickets are $40, $20 for members and students with ID; museum admission for that day is included. Advance reservations are strongly recommended:
1600 21st Street, NW (at Q Street)
Metro Red Line, Dupont Circle Station (Q Street exit), and via several bus lines,
Tuesday, Wednesday, Friday, and Saturday, 10 a.m.–5 pm;
Thursday, 10 am–8:30 pm; Sunday, noon–7 pm
Café: Tryst at the Phillips: Tuesday, Wednesday, Friday, and Saturday, 10 am–4 pm; Thursday, 10 am–4 pm and 10 am–8 pm (during Phillips after 5 only); Sunday, noon–6 pm
Closed Mondays, New Year’s Day, Independence Day, Thanksgiving Day, Christmas Eve, and Christmas Day.
On the first Thursday of every month, daytime admittance ends at 5 pm due to the regularly scheduled Phillips after 5 events. Admission after 5 pm is restricted to members and Phillips after 5 ticket holders.

The Phillips Collection1600 21st Street, NWWashington, DC 20009 |




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Opening at Hemphill

Painting by Hedieh Javanshir Ilchi
Everything became nearness and all the nearness turned to stone.
November 11 – December 23, 2016

It’s as if I’m pushing through massive mountains
through hard veins, like solitary ore;
and I’m so deep that I can see no end
and no distance: everything became nearness
and all the nearness turned to stone.

I’m still a novice in the realm of pain,—
so this enormous darkness makes me small;
But if it’s You— steel yourself, break in:
that your whole hand will grip me
and my whole scream will seize you.

-Rainer Maria Rilke, The Book of Hours, 1905

The esoteric connotations of Rilke’s poem encapsulate the inherent mysticism found in the work of Hedieh Javanshir Ilchi. Both Rilke’s poetry and Ilchi’s imagery have the power to incite the alchemy of the mind. He implements each word with the fullest intention, however small. Like Rilke’s words, Ilchi’s brush strokes are surgically applied, exquisite in execution and commanding in form. Her Iranian roots inform these patterns, called Tazhib, or the art of illumination, used to adorn the margins of historical books. They reference a culture long-oppressed by internal and external forces and also nurturing of deeply beautiful traditions. These patterns, born of tradition, exist amidst the lyrical chaos of poured paint, which she projects across the surface without control. This kind of “action painting” is distinctly Western, and lays the foundation for each composition. Once the paint dries, a topography forms, at once familiar and strange. It beckons Ilchi to search for herself in the peaks and valleys of paint. This binary sense of identity propels her to articulate a vision that reconciles all the things that define her. She can be everything and nothing at all; nearness and stone.

Everything became nearness and all the nearness turned to stone is Hedieh Javanshir Ilchi’s debut exhibition at Hemphill Fine Arts.

View exhibition details.

Click to join event.

  • Tuesday–Saturday, 10:00am–5:00pm, and by appointment


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Inner City Hues

Combined exhibition, Inner City Hues, at the Hill Center on Capitol Hill.  Visit my site,, for a preview of my new work.

The reception is open to all, but we would love your RSVP, click here to visit our Facebook event page.

About the show
Friends and fellow Mid City Artists, Michael Crossett and Charlie Gaynor share a passion for capturing the aesthetic that defines city life. Inner City Hues is a vibrant collection of photography and painting that explores neighborhoods through layered compositions of architecture and design affected by time. This work celebrates urban culture, as much as it will help to document history.

Thru December 30

Hill Center Galleries   | 921 Pennsylvania Avenue SE   |    Conveniently located near the Eastern Market metro stop.

Michael Crossett,
Charlie Gaynor,

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National Gallery 2017-8

The National Gallery of Art, Washington announces a diverse lineup of exhibitions for 2017 and 2018 ranging from a new body of work by Theaster Gates to the first major American exhibition of Frédéric Bazille in almost 25 years.

Della Robbia: Sculpting with Color in Renaissance Florence (February 5 –June 4, 2017) will present 40 glazed terracotta works by the Florentine family and fellow renaissance sculptors in the first major exhibition in the US dedicated to Della Robbia sculptures.

For In the Tower: Theaster Gates (March 5 –September 4, 2017)—the second exhibition in the reopened East Building Tower 3 galleries—contemporary American artist Theaster Gates will present a new body of work featuring several pieces created for the Gallery.

With 175 works, East of the Mississippi: Nineteenth-Century American Landscape Photography (March 12 –July 16, 2017) will be the first exhibition to focus exclusively on early photography of the eastern half of the United States.

The Gallery, which houses the largest collection of works by Frédéric Bazille outside of France, will present the first major American exhibition in 25 years of the relatively unknown contemporary of Monet and Renoir. Frédéric Bazille and the Birth of Impressionism (April 9 –July 9, 2017) will bring light to the artist’s role in the movement.

America Collects Eighteenth-Century French Painting (May 21 –August 20, 2017) will bring together 70 18th-century French paintings from a range of public collections across the country in an exhibition that explores how Americans developed a taste for the French rococo and neoclassical styles.

Finally, Gordon Parks: The New Tide, 1940-1950 (November 11, 2018 –February 18, 2019) will focus on the most formative decade of legendary photographer Gordon Parks’ career. 120 photographs and ephemera will showcase his iconic photographs from his time at the Farm Security Administration and Office of War Information.



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Hillyer Art Space Call for Proposals

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NGA: Mark Rothko: The Works on Paper, online resource

The National Gallery of Art maintains the largest public collection of art by the American artist Mark Rothko (1903–1970). Following the publication in 1998 of its landmark catalogue raisonné of Rothko’s works on canvas, the Gallery embarked on research into Rothko’s works on paper. The culmination of this effort will be an online resource compiling the drawings, watercolors, and paintings on paper. Expected to be launched to the public in phases between 2016 and 2018, the online resource will be followed in 2020 by a two-volume catalogue raisonné print publication.

Mark Rothko: The Works on Paper will document and illustrate some 2,600 works by Rothko located in public and private collections worldwide. Demonstrating the range of the artist’s creative achievements, the online and print publications will be the definitive scholarly references for Rothko’s works on paper, an oeuvre largely unknown to art specialists and the public alike. The Gallery continues to seek information about drawings, watercolors, and paintings on paper to be considered for inclusion in the catalogue raisonné.

Anyone with information regarding works on paper by Rothko should contact Laili Nasr by e-mail at or by phone at (202) 842-6779.

For more information



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Bethesda Fine Art

The New Building, 2013
64″ x 48″

Tarzan from Portfolio Series I, 1969
silkscreen on canvas on board
24″ x 30″
Untitled #2, 1970
color etching
26” x 19.8”
Untitled, c 1968
acrylic on canvas
37″ x 44″
In & Out, 1997-2007
stainless steel and painted aluminum
78″ x 102″ x 102″
21.5″ x 30″
Untitled (2), c 1970
watercolor on paper
22″ x 30″

Bethesda Fine Art
4931 Cordell Avenue, Bethesda, Maryland


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National Gallery of Art Library

Artists’ materials ranging from art instruction manuals to trade catalogs enable scholars and conservators to better understand the physical attributes of the artworks they study and preserve. In the Library: The Intersection of Commerce and Instruction in Art presents approximately 50 examples of trade literature, from handwritten and early printed manuals containing formulas for various dyes, varnishes, and inks to illustrated trade catalogs and instruction manuals on techniques. Organized by the National Gallery of Art Library, this exhibition is on view from February 22 June 3, 2016, in the East Building, Ground Floor, Study Center.

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Phillips and University of Maryland Form Partnership


Collaboration includes new curriculum, experimental and community-focused education programs,launch of The University of Maryland Center for Art and Knowledge at The Phillips Collection, and a new gallery and open storage facility in Prince George’s County

The Phillips Collection’s Director Dorothy Kosinski and University of Maryland President Wallace D. Loh announced today a bold partnership between the two institutions with a shared vision to dramatically transform scholarship and innovation in the arts.

Layered with rich opportunities to collaborate, the agreement is ambitious, entrepreneurial, and risk-supportive, which are considered essential qualities in today’s competitive arts and academic environments. Together, The Phillips Collection will expand its education programs, reach new and diverse audiences, and pursue key initiatives that align with the museum’s strategic mission as an “experiment station” and institution for learning. At the same time, UMD will grow its established scholarship and academic programs within the arts, provide unparalleled research and education opportunities for UMD faculty and students, and expand its footprint in the nation’s capital.

“This is a pivotal moment in Phillips history. As we look toward the museum’s 100th anniversary in 2021, we intend to redefine its role within the cultural community locally and globally,” says Kosinski. “Together with the University of Maryland—one of the country’s leading institutions for research and innovation—we can reach new audiences, disrupt conventional thinking, and inspire new heights of achievement and impact.”

“This remarkable partnership fulfills a long-time dream for this campus,” said University of Maryland President Wallace D. Loh. “Not only does it provide access to this priceless collection, but it brings a new vigor to our arts education, and to the entire campus.  We are genuinely a STEAM university—Science-Technology-Engineering-Arts-Math.”


This partnership, rooted in shared values and a commitment to arts integration and innovation, will provide rich and meaningful opportunities for education, innovation, research, entertainment, interdisciplinary collaboration, and exploration.  University faculty and programming will complement the museum’s expertise in scholarship, exhibitions, and publications, and will serve as a partner in the exploration of topics related to the museum’s collections and programs.

With long-term goals in mind and a forward-looking entrepreneurial spirit, this six-year partnership—through investment from both institutions—will position the Phillips and UMD to achieve the goals articulated in their strategic plans while providing rich and meaningful opportunities for local and global audiences.

To increase greater public viewing to more of the museum’s exceptional 4000-piece collection, the Phillips and UMD plan to develop a new gallery and open storage facility in Prince George’s County. The new public facility will serve as a cutting-edge, modern and contemporary art center, hub for experimentation and innovation, and an artistic laboratory for a global community. This project would spark county and statewide economic development and dramatically expand outreach to students, faculty, the local community and a range of national and international visitors.

UMD will also now be the primary presenter of all Intersections exhibitions at The Phillips Collection. Intersections is the Phillips’s series of contemporary art exhibitions that invites artists of today to explore the intriguing intersections between old and new traditions, modern and contemporary art practices, and museum spaces and artistic interventions. This partnership builds on UMD’s already sterling reputation for building the future of the arts—from world-class performances at The Clarice Smith Performing Arts Center to cutting-edge training in arts management at the DeVos Institute.


The University of Maryland Center for Art and Knowledge at The Phillips Collection is the expansion of the Center for the Study of Modern Art—the museum’s nexus for academic work, scholarly exchange, and innovative interdisciplinary collaborations. Key collaborations under the newly named Center will include:

  • Expanding on and developing new arts curriculum and extended studies courses and seminars focused on art, art history, arts management, museum studies, cultural diplomacy, conservation and interdisciplinary studies.
  • Supporting two or more postdoctoral fellowships at the Phillips annually, with research conducted in the areas of modern art, conservation, music, and cultural diplomacy.
  • Partnering on the Phillips’s International Forum Weekend, which, since 2009, has brought together leading art collectors and committed philanthropists from around the world to engage with artists, art professionals, and diplomatic, Congressional, and Administration leaders to explore topics in modern and contemporary art in a global context.
  • Co-publishing the UMD-Phillips Book Prize, a biennial book prize for an unpublished manuscript presenting new research in modern or contemporary art from 1780 to the present.
  • Co-presenting a new music series at the Phillips, developed in partnership between the Phillips and UMD’s School of Music.
  • Enhancing programming for Creative Voices DC and other public programs, which includes expanding programming and academic offerings to UMD’s campus, including public lectures, college courses, symposia, interdisciplinary projects and artist talks.
  • Digitizing of the museum’s archives of 9,500 scholarly books, exhibition catalogues, and correspondence, to preserve the archives in perpetuity and make valuable educational resources easily accessible to scholars, researchers and students around the world.

“By providing new opportunities for sustained inquiry, this partnership will enable the Phillips to deepen its educational mission and become internationally recognized as the leading resource for the study and appreciation of modern and contemporary art, while also enhancing the University of Maryland’s reputation as a leading institution for the arts and a trailblazer for the STEM-to-STEAM movement nationally and globally,” says Board Chairman George Vradenburg. “Picasso purportedly said of computers, ‘They are useless.  They can only give you answers.’  Our increasing visual world demands that we add arts to STEM curriculum, so we can ask—and answer—the right questions. We believe this type of provocative and inclusive conversation can only arise from a collection of such specific and singular identity as the Phillips’s.”

As part of the new partnership, UMD students, faculty, staff and Alumni Association members will received free admission to the Phillips, and have access to the collection, facilities, and museum staff for research and educational purposes. The Phillips will also offer internships for UMD graduate and undergraduate students in interdisciplinary fields.

The partnership between The Phillips Collection and the University of Maryland will serve as a catalyst for an even more dynamic use of the museum’s permanent collection and for the development of new educational programs across disciplines and audiences.


The Phillips Collection is one of the world’s most distinguished collections of Impressionist and Modern American and European art. Stressing the continuity between art of the past and present, it offers a strikingly original and experimental approach to modern art by combining works of different nationalities and periods in displays that change frequently. Artists represented in the collection include Pierre-Auguste Renoir, Vincent van Gogh, Edgar Degas, Henri Matisse, Pierre Bonnard, Paul Cézanne, Pablo Picasso, Honoré Daumier, Georgia O’Keeffe, Mark Rothko, Jacob Lawrence, and Richard Diebenkorn, among others. The Phillips Collection, America’s first museum of modern art, has an active collecting program and regularly organizes acclaimed special exhibitions, many of which travel internationally. The Phillips also produces award-winning education programs for K–12 teachers and students, as well as for adults. The museum’s Center for the Study of Modern Art explores new ways of thinking about art and the nature of creativity, through artist visits and lectures, and provides a forum for scholars through courses, post-doctoral fellowships, and internships. Since 1941, the museum has hosted Sunday Concerts in its wood-paneled Music Room. The Phillips Collection is a private, non-government museum, supported primarily by donations.


The University of Maryland is the state’s flagship university and one of the nation’s preeminent public research universities. A global leader in research, entrepreneurship and innovation, the university is home to more than 37,000 students, 9,000 faculty and staff, and 250 academic programs. Its faculty includes three Nobel laureates, three Pulitzer Prize winners, 47 members of the national academies and scores of Fulbright scholars. The institution has a $1.8 billion operating budget, secures $500 million annually in external research funding and recently completed a $1 billion fundraising campaign. For more information about the University of Maryland,

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Vermeer Loan Celebrates 20th Anniversary of NGA Retrospective

The Rijksmuseum in Amsterdam has lent one of its great treasures—Johannes Vermeer’s Woman in Blue Reading a Letter (c. 1663)—to the National Gallery of Art in Washington, DC, to celebrate the 20th anniversary of the landmark Johannes Vermeer exhibition, which opened here in November 1995 before traveling to the Royal Cabinet of Paintings Mauritshuis, The Hague, in March 1996. Woman in Blue Reading a Letter will on view through December 1, 2016, in the Dutch and Flemish Cabinet Galleries alongside Vermeer paintings from the Gallery’s own collection.

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NGA Acquires Bingham’s “The Jolly Flatboatmen”


George Caleb Bingham American (1811 – 1879) The Jolly Flatboatmen, 1846 oil on canvas 96.8 x 123.2 cm (38 1/8 x 48 ½ in.) National Gallery of Art, Washington Patrons’ Permanent Fund 2015.18.1

George Caleb Bingham’s masterpiece, The Jolly Flatboatmen (1846)—considered one of the greatest American genre paintings ever made—has entered the collection of the National Gallery of Art, Washington. Known as “the Missouri artist,” Bingham was fascinated with American frontier life and is particularly well known for his paintings of trappers and boatmen along the Mississippi and Missouri rivers. The purchase of the painting from the collection of the Richard and Jane Manoogian Foundation was made possible by the Gallery’s Patrons’ Permanent Fund.

The Jolly Flatboatmen is among the first distinctly American paintings that capture the allure of Western expansion during the mid-19th century,” said Earl A. Powell, III, director, National Gallery of Art. “The American masterpiece has had a regular presence at the Gallery since 1956, thanks to the generosity of its past owners, the Pell family and Richard Manoogian. It joins two other outstanding paintings—Mississippi Boatman (1850) and Cottage Scenery (1845)—and two works on paper by Bingham in the Gallery’s collection.”

The painting was also featured in two exhibitions: American Paintings from the Manoogian Collection at the National Gallery of Art in 1989, which traveled to San Francisco, New York, and Detroit, and George Caleb Bingham at the Saint Louis Museum of Art and the Gallery in 1990.

Born in Virginia in 1811 and raised in Missouri, Bingham began his career as a portrait painter and was largely self-taught. It was not until about 1845 that he began painting his most notable works—genre scenes featuring a wide range of colorful characters that lived and worked on the Mississippi and Missouri rivers. These lively compositions remain among the most important portrayals of life at the gateway to the Western frontier.

In The Jolly Flatboatmen, Bingham placed his central dancing figure at the apex of a triangular composition. On either side of the dancer, a fiddler plays a tune while another boatman keeps time on a frying pan and the rest of the men lounge on the deck as the boat floats downriver. In the foreground, Bingham included several remarkable still-life elements: a shirt drying in the sun, a coonskin, and a coiled rope. By 1846, when Bingham completed this painting, flatboats were quickly being replaced by steam-powered vessels that could haul freight at significantly faster speeds.

The American Art Union, based in New York City, was instrumental in Bingham’s artistic career. This organization provided artists not only exhibition space, but also helped to disseminate their art to a broader public. In 1846, the Union purchased The Jolly Flatboatmen and included the work in its annual raffle. The painting was awarded to Benjamin van Schaick, a grocer living in New York. Bingham’s spirited river scene became wildly popular through the circulation of printed reproductions, including 10,000 mezzotints of the painting distributed by The American Art Union to its members in 1847 and two lithographs produced by Currier & Ives in 1867 and 1870.

Hoping to profit from the original painting’s popularity, Bingham completed two additional versions on the theme. The first, Jolly Flatboatmen in Port (1857), now at the Saint Louis Art Museum, repeats the triangular composition with additional figures. The second version, The Jolly Flatboatmen (1877–78), currently in the collection of the Terra Foundation for American Art, Chicago, is a smaller painting with just seven figures. However, the original composition of The Jolly Flatboatmen remains Bingham’s best-known work.

After disappearing from view for more than a century, The Jolly Flatboatmen was purchased by William Pell sometime prior to 1954 when it was exhibited at the Saint Louis Art Museum. It remained in the collection of the Pell family and the Pell Family Trust until Richard A. Manoogian purchased the painting in 1986.

National Gallery of Art’s American Paintings Collection

Today the National Gallery of Art’s collection of some 1,400 American paintings from the 18th to the early 20th centuries represents the largest holding of any school in the Gallery and is among the top collections in the country. It includes works by nearly every important figure in American painting and many of these artists’ greatest masterpieces, from John Singleton Copley’s Watson and the Shark (1778), Rembrandt Peale’s Rubens Peale with a Geranium (1801), and Thomas Cole’s four-part allegory, The Voyage of Life (1842), to George Inness’s The Lackawanna Valley(c. 1856), Winslow Homer’s Breezing Up (A Fair Wind) (1873–1876), and George Bellows’s Both Members of This Club (1909).

The collection also includes George Catlin’s Indian paintings, donated by Paul Mellon, and American folk art from the collection of Edgar William and Bernice Chrysler Garbisch. Both gifts total more than 600 paintings, representing more than one-third of the American paintings collection. The recent acquisition of some 226 works from the collection of the former Corcoran Gallery of Art has further enhanced the Gallery’s holdings, with outstanding works such as Albert Bierstadt’s The Last of the Buffalo (1888), Frederic Edwin Church’s Niagara (1857), and Edward Hopper’s Ground Swell (1939), plus important works by African Americans, including Aaron Douglas’s Into Bondage (1936), genre paintings, and the Gallery’s first work by Cecilia Beaux.


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In Memory of Norman Parish, 1937-2013

Galleries magazine will greatly miss our longtime friend Norman Parish.

In Memory of Norman Parish

Tuesday, July 16, 2013
Posted by: Alumni Relations

Norman Parish (BFA 1960), a painter who opened an art gallery in Washington that spotlighted African American artists at a time when few other galleries concentrated on showing their work, died July 8 at his home in Germantown. He was 75.
He had a brain tumor, his son Norman Parish III said.
Early in his career, Mr. Parish was part of a politically active group of black artists in Chicago. He continued painting after coming to Washington in 1988 to take a job with an environmental company as a computer graphics designer.
With a new artistic focus on lush landscapes inspired by his travels through Western Maryland, Mr. Parish attempted to exhibit and sell his work in local galleries.
“While people generally seemed to like my paintings, no one would show them,” he told The Washington Post in 1996. “Finally, someone told me I should open my own gallery and exhibit my work. I rejected the idea at first. Then I decided it wasn’t so bad and went into business.”
He opened the Parish Gallery in Georgetown in 1991. It became one of the country’s best-known black-owned art galleries, with a focus on works by African Americans and other artists of what is known as the African diaspora.
Mr. Parish gave himself five years to make the gallery a success. Within that time, he was able to give up his day job in computers to devote himself to the gallery, which he operated with his wife, Gwen. After 22 years, the Parish Gallery is still open, now with an exhibition of Mr. Parish’s own paintings.
“At the time, it was unprecedented for an African American to have a gallery in Georgetown,” Juanita Hardy, executive director of the nonprofit arts promotion group Cultural D.C., told The Post last month.
Over the years, Mr. Parish showed the work of more than 170 artists, including such well-known figures as Sam Gilliam, Richard Mayhew, Lou Stovall, E.J. Montgomery and Wadsworth Jarrell.
“He was well-respected nationally,” Jarrell, who met Mr. Parish when they were students at the Art Institute of Chicago in the 1950s, said Tuesday in an interview. “There will definitely be a void for African American artists because of the number of artists he showed. He gave everybody a chance.”
Norman Parish Jr. was born Aug. 26, 1937, in New Orleans. He grew up in Chicago and was a 1960 graduate of the Art Institute of Chicago, where one of his teachers was painter and illustrator LeRoy Neiman, who died last year.
Mr. Parish occasionally painted abstract works, but more often he worked in what he called “stylized realism.” His paintings often have bold colors, with vivid greens, oranges and aquamarine blues. He uses impressionistic and collage-like qualities without abandoning the recognizable, three-dimensional world.
In 1967, Mr. Parish was one of several artists who contributed to the “Wall of Respect,” a mural on the South Side of Chicago that showed images of African American achievement. The building on which the mural was painted was razed in 1973.
In recent years, Mr. Parish turned to painting scenes drawn from his early childhood memories of New Orleans. His artwork is in museums in Chicago and Alabama and in many private and corporate collections.
His first marriage, to the former Shirley King, ended in divorce. Survivors include Gwen Burkett Parish, his longtime partner whom he married eight years ago, of Germantown; three children from his first marriage, Norman Parish III of Oak Park, Ill., Kimberley Parish Perkins of Arlington, Tex., and Malcolm Muhammad of Chicago; his 101-year-old mother, Vierian Parish of Homewood, Ill.; three sisters; one brother; and five grandchildren.
“I wanted to show high-quality art that had been overlooked,” Mr. Parish told The Post in 1996, describing his goal in opening the gallery. “I wanted to give solo shows to people who deserved one but had never had the opportunity.”
There will be a memorial in Chicago for Norman Parish from 3 p.m-6 p.m. on Aug.31 at the ETA theater, 7558 South Chicago.  Art Institute alums Richard Hunt (BAE 1957) and Wadsworth Jarrell (BFA 1958) are among the speakers at the event.

from mysaic, School of the Art Institute of Chicago.

His obituary is published in the Washington Post.


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