Performing the Border at the Alper Initiative for Washington Arts/American University Museum opening June 17

The Invisible Wall: Photographs from East of the Anacostia River

Introducing Dimitri Reeves, Good Hope Road SE, Washington, DC © Susana Raab from the series, The Invisible Wall

A very exciting political event is coming to fruition in Washington right now.  I know what you all are thinking, so I will do away with the suspense and just confirm that yes, the exciting political event of the summer in Washington is happening at the American University Art Museum June 17. I am of course, talking about Performing the Border curated by Megan Rook-Koepsel at the Alper Initiative for Washington Arts.

For those of you who live in the DMV and don’t know – the Alper Initiative for Washington Arts is promotes an understanding and appreciation of the art and artists of the Washington Metropolitan Area through a dedicated space located within the American University Museum, and exhibitions, programs, and resources for the study and encouragement of DC’s creative community.  They also host a reading room related to each exhibition.

Perhaps most exciting is that early inspirator Carl de Keyzer will be showing in the main gallery and giving an artist talk at 5 pm before the opening, this is a real opportunity, folks.  De Keyzer’s work was a huge personal influence back in me formative years – his way of looking at the world without relying on the same set of tropes I saw repeatedly foregrounded.  Also the fat rectangular format. And flash. No illusion of sentimentality or false intimacy.  He won a Smith? grant and travelled around the US in a van or something with his family photographing God, Inc. and continues to produce fantastic work – his recent work from Cuba for ex. Also because his pictures are so small on his website and also because, website, the opportunity to see the prints in person should not be discounted.

So come to see this work, here his talk, and see this fabulous group show I’m in with a bunch of other interesting DC artists: Clay Dunklin, Amy Lin, Jenny Wu, and Street Light Circus. The works in Performing the Border explore the concept of borders and boundaries, both the ways we perform within them, and the way those borders are often themselves a performance. Looking forward to seeing you there.

Details:

Saturday June 17, 2017

Alper Initiative for Washington Arts/American University Museum at the Katzen

4400 Massachusetts Avenue NW

Free parking in the garage

 

 

 

 

 

 

 

 

 

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New Year New Work New Paths

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The path of love is not the path the comfort, Creina Alcock wrote.  And so we begin this year in a state of extreme discomfort, most of us, it seems to me.

I am thinking of my intentions this year, more acutely knowing that which I have taken for granted was not, in fact, guaranteed, and that time is the devil lulling me into a false sense of security, to linger at the party and sleep the days away, because tomorrow always comes.

Until it doesn’t. In 2017 I want to learn how to live every day like it was my last, which I have to thank the current administration here in town for helping me to visualize more viscerally.  So there’s that.

I’m going to try to slow down and pay better attention this year. Conquer the egoic anxiety that is always telling me I am not doing or being enough. I would like less shallow and more meaningful engagements. Less electricity and more papyrus. Embrace the troglodyte within unapologetically.

I also went down to the National Mall on Inauguration Day and for the Women’s March on Washington and made some photographs with my old crown graphic because I think that is how its going to roll this year and I better start now. I have big plans for this year and I hope you’ll follow along, or we’ll meet in the offline world and have a great conversation.

Back to Creina Alcock, she lived among the Zulu in  South Africa, and she had this to say about rupture and reconciliation, words which might serve us now:

“The path of love is not a path of comfort. It means going forward into the unknown with no guarantee of safety, even though you’re afraid. Trusting is dangerous, but without trust there is no hope for love, and love is all we ever have to hold against the dark.

Loves and Fears Closing Party Fri Oct. 14

Its the last call for the Loves & Fears Project at 2208 MLK Avenue SE!

In conjunction with the openings at the Anacostia Arts Center down the road, I’ll be hosting the last studio hours this year to participate in the project.  It has been really wonderful having a chance to set up shop in the community and get to know you all.  I hope that those of you who have passed and by and thought about participating will do so, and that more urban adventurers will use this as an opportunity to cross the great boundary channel that is the Anacostia. Treat yourself!

Details:

Friday October 14, 2016  6-8:30 PM

2208 Martin Luther King Avenue SE

29__dsc1965Loves & Fears is a community project which asks people to share their loves and fears, then sit for an accompanying portrait. The work is printed and posted around town, and will be used for publication and social media sharing.  All participants will be emailed a copy of their portrait and text.

This project was sponsored by the Anacostia Arts Center with support from the National Endowment of the Humanities.

 

 

The Loves & Fears Project returns to Anacostia

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I’m pleased to announce that the Loves & Fears project has returned to southeast Washington at 2208 Martin Luther King Ave SE, within walking distance from the Anacostia Metro.  Hosted by Immersion, the brain child of the Arch Development Corp and supported with funds from the National Endowment in the Arts; Immersion brings together creative place makers to host participatory projects in the Anacostia Arts Center, and in  my case at a newly renovated row house next to Martha’s Table Outfitters on MLK near the Big Chair.

What is Loves and Fears you ask?  It is a simple concept.  What brings us together and what tears us apart? Love and fear.  I’m asking people to share their loves and fears then I take their portraits and place their portraits and words around town.  I’ve got other ideas for the project too, once I get enough participants.

So come on down, I have five sessions left. Thursdays 1 – 7 pm and Saturday 12 – 5 pm.

2208 MLK Ave SE.  Near the Anacostia Metro.

More details here.

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Raab Photobombing Fotoweek Closing Panel: Finding Your Vision & Staying Inspired

So they asked me if I wanted to be on the Festival Closing Conversation panel on “Finding your vision and staying inspired,” to which I wanted to respond, “Hells if I know!”

But actually, of course I have a ton to say on the subject, and even better for the audience, I am surrounded by a competent, inspiring co-panel including moderator Lucian Perkins, and fellow panelists Frank Hallam Day, Marvin Joseph, Bill Crandall, and especially, Astrid Riecken.  This Closing Conversation will take place at Fotoweek Central, 2801 16th Street NorthwestWashington, DC, 20009 on Sunday November 15 from 3:30-5:00 pm. Afterwards we can share a cab to get down to the National Museum of Women in the Arts supper with Carrie Mae Weems to thusly ponder if an artist can inspire social change. Inspiration, vision, social change, victuals. What more could anyone ask for of a November Sunday?

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The Invisible Wall opens at Georgetown University Thursday Oct. 29 & Other Fotoweek Previews

Hello.  I’ve got a few openings around town around FotoweekDC, beginning with the lead off: The Invisible Wall @ Georgetown University’s Spagnuolo Gallery

 Thursday Oct. 29 at 5 -7.  If you can make it I will be speaking from 5-6.

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Next up: the exhibit I curated for Fotoweek “My Kingdom for a Stage: Staged Photography in Conceptual and Documentary Practices” through the work of 17 Iberoamerican photographers.

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© Adriana Duque “Maria 25”

The public opening will be Friday Nov. 6 at Hillyer Art Space tucked away in a back alley near the Cosmos Club in Dupont Circle, 9 Hillyer Ct NW, Washington, DC 20008.  Finding the artists featured in this show was both fun and frustrating, and greatly aided with the help of Fabian Goncalves Borrega at the Art Museum of the Americas and Idurre Alonso at the Getty.  Un mil gracias.  The artists who agreed to participate in this show represent a wealth of practices.

Conceptually, the work often follows the tradition of magical realism in recreating fantasy worlds meant to inform our current realities as in Mexican artists Dulce Pinzon’s “Global Warming,” or in “Maria 2.” In the latter image, Colombian artist Adriana Duque recreates a world of childhood fantasy where a young Infanta sojourns resplendent and bejeweled, a modern interpretation of a baroque Colonial fantasy.

Documentary photography is considered to be the sacred terrain of the unaltered photograph, but it can employ elements of staged photography to powerful effect. Looking inwards, Ecuadorean photographer Paola Paredes, set a stage composed of three cameras recording the moment when she told her parents she was gay. The photographic series records pain, pathos, and humor.

© Pao Paredes from the series "The Unveiling"

© Pao Paredes from the series “The Unveiling”

I am very excited to feature the works of:

Argentina/Irina Werning

Brazil/Mostra Tua Capa

Chile/Rodrigo Valenzuela

Colombia/Adriana Duque

Costa Rica/Eloy Mora

Ecuador/Paola Paredes

El Salvador/Fred Ramos

Espana/Garcia de Marina

Guatemala/Mario Santizo

Honduras/Hector Rene

Mexico/Dulce Pinzon

Paraguay/Norberto Duarte

Peru/Rafael Soldi

Portugal/Miguel Proença

Uruguay/Roberto Fernandez

Republica Dominicana/Fausto Ortiz

Venezuela/ Francisco Elías Prada

Next up WPOW’s annual juried show at Fotoweek Central at the Former Spanish Ambassador’s Residence opens with a reception on Tues Nov 10th @ 8pm with a $5 donation to fotoweek suggested at the door.  Yours truly won best in show, with the image from The Invisible Wall below.Prior to the opening WPOW is hosting  “Picturing Diversity: Expanding the View,” a panel discussion during FotoWeekDC on coverage of minorities and culture in photojournalism. The panelists include photographers Zun Lee and Endia Beal, and will be moderated by Washington Post Director of Photography MaryAnne Golon.

The panel will be immediately followed by opening exhibition
reception for WPOW’s Annual Juried Exhibition at 8PM which is free and open to the public. Please consider a $5 donation to our sponsorFotoWeekDC at the reception.

Picturing Diversity: Expanding the View
When: Nov. 10, 2015 at 6:30 PM (doors open at 6PM)
WPOW Juried Show Opening Reception
When: Nov. 10, 2015 at 8-10 PM
Where: FotoWeek Central 1750 16th St NW, Washington, DC 20009.
Cost for entry to the panel is $10, which defrays the cost of the program.

Featured photographers:
Aude Guerrucci; Allison Shelley; Becky Harlan; Caroline Lacey; Ellie Van Houtte; Erin Scott Photography; Gabriela Bulisova; Gabriella Demczuk; Jacquelyn Martin; Kristin Adair; Kate Warren; Lindsey Léger; Leigh Vogel; Lexey Swall; Lauren Schneiderman; Maria Daniel Balcazar; Stephanie Cordle Frankel; Sarah Miller; Susana Raab; Melissa Golden; Meghan Dhaliwal

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Print is Not Dead: American Idle in the Pacific Standard

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“I also wanted to let you know that I’ve had to look at thousands (millions?) of images in my current job, and yours really stand out. Provocative and beautiful subjects and compositions, and such a range of natural, expressive poses. The body language, the look on the faces–people lost in their own moment, good, bad, neutral. You must be really charming and disarming.”

-salient words by editor Michael Fitzgerald of the Pacific Standard

With these words ended a most brief but beautiful collaboration between myself and editor Michael Fitzgerald of the Pacific Standard.  The magazine, based in Santa Barbara, hosts a fabulous photo column in the spirit of the Harper’s Magazine Index.  Each issue, it pairs an unassigned photograph with a bunch of factoids of loosely or tightly ascribed to the information in the photograph.  Fun and interesting, right?

Por ejemplo:

  • In 1964, Col Harlan Sanders, then age 74, reluctantly sold his stake in KFC for $2 million to his attorney, John Brown Jr. The Colonel started appearing on popular TV programs, including I’ve Got a Secret and The Tonight Show, clad in his trademark white suit, sometimes pushing a chicken cage filled with $2 million in cash.
  • Researchers at Stanford University interviewed athletes and coaches and concluded that boxing’s physical intimacy produces a sense of “at-homeness” among fighters. One of the most salient effects of boxing, according to fighters, is the closeness that develops between boxers in the ring.

So glad that print is not dead. How would we read in the bathtub?