Photo: Refik Anadol, courtesy of ARTECHOUSE

Exploration Of DC’s Powerful, Impactful Art

In today’s social climate, art is the epitome of pushing the conversation forward. With many adversities dividing our communities, the use of mediums like design, sculpture and film allow the world to see a perspective through another person’s lens. Our nation’s capital is the epicenter of politics, diversity and community, so it’s no surprise that the District’s art reflects the same. New exhibits and installations are being created to highlight civil rights, social justice and political reform addressing the huge gap in peace and prosperity. We handpicked some of the summer exhibits and public works of art making a lasting impact in and around the city.

Photo: Tex Williams, courtesy of Hirshhorn

Rirkrit Tiravanija: (who’s afraid of red, yellow, and green)

The Hirshhorn has always been known for its focus on contemporary art, inspiring people to step back and take the time to think over what is being presented. The same case follows here for “Rirkrit Tiravanija: (who’s afraid of red, yellow, and green).” Through July 24, the exhibit from Thai artist Rirkrit Tiravanija is encouraging visitors to consider many sensory feelings – especially because curry from Beau Thai in Mount Pleasant is served as you watch the mural appear in front of you. We spoke with Dr. Mark Beasley, the Hirshhorn’s curator of media and performance art, about bringing this interactive exhibit to the museum and working with Tiravanija.

On Tap: What attracted you to Tiravanija’s work and why was it important for it to be showcased?
Mark Beasley:
[He’s] somewhat of a figurehead for the Thai artists that appeared in the 90s. He creates a social engagement with the audience. He facilitates a social space within galleries. The work is about activism and protest culture. It connected very well with the history of the city but also had two key threads: the serving of food as an art piece.

OT: What was the process like to bring this show to life?
MB:
The process in general was two-fold: food and drawings. With the food, we looked to find a collaborator in the city: restaurant Beau Thai. They worked with Rirkrit to come up with a recipe that he was happy with and seemed authentic to him. The 18 mural artists working for and with Rirkrit are drawing these images taken from the mainstream press of protests over the last 40 years both in Bangkok and Washington. At any time, there are [up to] three artists in this space drawing directly onto the walls.

OT: How does serving curry play into the overall sensory experience?
MB:
It is another flavor and ingredient in the room. It sets up a space of sociability. It is an immediate hook. You go and get food and sit, and then you are in a room of drawings so the discussion stems from there. In terms of sensory [experience], [it’s] very much this other vocabulary that most of us are not used to thinking of. We are not used to thinking through those textures or what that means to the space or a room. It brings part of Thailand into this space, into this museum.

“Rirkrit Tiravanija: (who’s afraid of red, yellow, and green)” runs through July 24. Go to www.hirshhorn.si.edu for details.

Hirshhorn Museum and Sculpture Garden: Independence Avenue and 7th Street in NW, DC; www.hirshhorn.si.edu

Photo: Griselda San Martin

“The Warm of Other Suns: Stories of Global Displacement”

“The Warm of Other Suns: Stories of Global Displacement” at the Phillips Collection through September 22, presents a group of global artists whose work asks urgent questions about the experiences and conceptions of migration and the refugee crisis that many countries are living through. Through the lens of installations, videos and paintings, viewers are shown real and artistically created geographies creating tales of migration, while adding historical elements on top of them. Global artists Richard Wright, Isabel Wilkerson and Jacob Lawrence are featured in this exhibit, conveying the powerful message of migration that affects our world today. We chatted with curator Massimiliano Gioni, who gave us his interpretation of this impactful exhibit.

On Tap: How did you get started in this line of business? Why did you want to become a curator of art?
Massimiliano Gioni:
I was a teenager when I started getting interested in contemporary art and gradually, I wanted to spend my life being surrounded by it. Around 1990, when I entered the world of art professionally, I didn’t think curation was a profession. For a long time, I thought I would’ve had another life that eventually would’ve led me to art. I struggled for a while within the art community, but fortunately and beyond my wildest imagination, everything fell into place.

OT: What makes a piece of art something worth showcasing?
MG: 
It’s a combination of numerous things. On one hand, it’s the effect that it feels just right, that anything you do to it won’t compromise it, that nothing could be added to or subtracted from it, [that it’s] personal and individual to the point of being unconventional. On the other hand, it’s endlessly incomparable because every time you return to it, you learn something new and in return, you learn something new about yourself.

OT: Is there a specific impression you would like viewers to have of “The Warmth of Other Suns”?
MG:
There are three central questions in the show that they address. One is the representation of pain and misery. The second is the question of documentary and the repercussions – the way in which we can claim to tell the truth or represent a truth. And the third is the relationship between the individuals and the masses – between self and the multitudes of self.

OT: What inspired you to get involved with this exhibit? How has your background influenced your choice in curation?
MG:
This is my second show. I did a show in Italy two years ago called “The Restless Arms.” In the summer in Italy, we are used to seeing thousands of civilians die crossing the Mediterranean and in a sense, I felt that we had some kind of responsibility to engage in this issue through this exhibition. One of the reasons I went [with this exhibition] is to basically say, “No more.” Also, because of the diversity within this show, it presents a much more vibrant and open conversation [about] the multicultural idea of society in contemporary art.

OT: With the topic of migration at the center of this exhibit, what kind of realities have you faced curating these works of arts?
MG: 
I think the interesting aspect is that we are looking at certain realities as they are constructed through images – how contemporary art is addressing the concept of truthfulness and accuracy, and how images can contract reality. What I hope is that people will go through this exhibition and understand that the people we call migrants are not so different from ourselves and our own families.

Tickets are $12; exhibit runs through September 22. Learn more about “The Warmth of Other Suns” at www.phillipscollection.org.

The Phillips Collection: 1600 21st St. NW, DC; www.phillipscollection.org

Photo: courtesy of Torpedo Factory

Julia Kwon’s “More Than A Body”

“More Than A Body,” at the Torpedo Factory through August 4, represents Asian femininity within modern society. Enduring objectifications as a Korean woman, local artist Julia Kwon uses the art of textiles to address and open the conversation of cultural propriety within the United States. Her use of authentic Korean materials pays homage to her culture and allows her to focus on influences such as globalism and totalitarianism. Chosen from nearly 130 artists, Kwon’s exhibit highlights the fusion of authenticity and appropriations. Panelists Sandy Guttman, Michael Matason and Terrence Nicholson played a huge role in putting this powerful exhibit together. Before visiting, we caught up with Kwon to learn more about her experience creating this exhibit.

On Tap: How has your background influenced your work?
Julia Kwon:
I decided to study art seriously and make sense of the world through creating art. My work is directly influenced by the society that I live in. I discuss my experiences of being seen differently in the U.S. based on my gender and ethnicity. I also reference current sociopolitical events through the inclusion of contemporary logos to challenge the expectation of cultural purity.

OT: What inspires you as an artist?
JK:
Artmaking is the struggle to better understand myself, the world I live in, and what it means to live fully and justly. I am continuing to challenge myself to think of more effective ways to expose the problematic constructions of Asian femininity within the U.S. context.

OT: What objectification have you faced as a Korean woman?
JK:
I have experienced discrimination based on the way I look, which includes larger, systemic inequalities as well as microaggressions – whether that was being subjected to others gazes or racist and sexist comments. I’ve also felt the pressure to prove or perform cultural purity and authenticity, even from well-meaning allies.

OT: Why did you choose textiles to convey your message?
JK:
I became involved with textile art quite organically as it allowed me to effectively talk about my experiences of being seen differently based on my gender and ethnicity. I am drawing inspiration from Korean textiles because it is specifically Korean, yet the abstract designs allow the space for complexity, nuance and ambiguity. I use traditional Korean silk as well as fabrics that were created from around the world and found here in the U.S. to question the idea of authenticity and shift the focus to the influences of globalism, transnationalism and cultural hybridity.

OT: What would you say to other women about handling these kinds of adversities?
JK: I aim to present my specific point of view and experiences as a Korean-American woman, as well as to spark conversations and position us to experience a more sweeping glance at issues regarding gender, ethnicity and other categories. I want women and other people who have had similar experiences to know they are not alone in the struggle to be a distinct and multifaceted human being.

OT: If there is one thing that you would like your audience to take away from your work, what would it be and why?
JK:
Although they may be initially drawn to the work for its vivid colors and lush materiality, the content of the work seems to be what ultimately resonates with them. I have had viewers interpret the positions of the figures very differently and I welcome diverse readings of my work. The fabrics are not only covering, blocking and suffocating, but also protecting, hiding and mystifying the body. The figures are both burdened by the expectation of authenticity yet free to be comfortably themselves behind the constructed façade.

“More Than A Body” runs through August 4. Learn more at www.torpedofactory.org and about Kwon at www.juliakwon.com.

Torpedo Factory Art Center: 105 N. Union St. Alexandria, VA; www.torepedofactory.org


“Art in Action”
The Library of Congress hosts many historic and awe-inspiring exhibits of art, including “Art in Action.” This particular exhibit feels quite crucial to recognizing events throughout history in a more fun and engaging way; presented in an easily digestible format, it brings together those taking in the art and the world that they live in. Some notable artists featured include Shepard Fairey, Pablo Picasso and Helen Zughaib. Runs through August 17. Library of Congress: 101 Independence Ave. SE, DC; www.loc.gov

“Chicago Titan”
One might not think of finding a large Romanesque sculpture outside of the Hirshhorn Sculpture Garden, but if you venture a bit from the city, you’ll find one nestled in the hustle and bustle of Rosslyn. “Chicago Titan” is a large sculpture created by Ray Kaskey, known for his large-scale civic art pieces that follow Greek and Renaissance themes. Look for it the next time you find yourself in Arlington. 1530 Wilson Blvd. Arlington, VA; www.rosslynva.org

DC Mural Walking Tour
DC is often recognized as a place full of monuments and history, but it has become so much more. The DC Mural Walking Tour has become a staple, taking locals a step further into the variety of public murals in the surrounding wards and neighborhoods of the city. This tour makes the art both accessible and informative to the public and has much to offer expressively. Check the official website for more information on where to get tickets and what areas these tours start in. www.dcmurals.org

“I Am…Contemporary Women Artists of Africa”
The National Museum of African Art is putting a twist on their upcoming exhibit, featuring 28 female artists. While addressing topics like racism, identity and politics, it also shines a light on women empowerment and the African experience. This diverse approach to contemporary art opens versatile perspectives within the creative community. Runs through March 2020. National Museum of African Art: 950 Independence Ave. SW, DC; https://africa.si.edu

“Infinite Space”
We live with a sense that there will one day be an end, but we rarely stop to think of the infinite possibilities. “Infinite Space” reflects the concept wherein visitors can open their minds to endless ideas and opportunities, as well as the transformative ways of man and machine. The exhibit invites you to look through the lens of a machine and how it perceives the world as a human. If you’re looking for an experience that will both open and expand your mind, this is for you. Tickets are $16. Runs through September 2. ARTECHOUSE: 1238 Maryland Ave. SW, DC; www.dc.artechouse.com

“Lightweave”
One may not think of an underpass as having the ability to showcase a magnificent work of art, but “Lightweave” is a fun, interactive experience for everyone. This piece also brings the city to life because it takes all the varieties of sounds in NoMa and turns them into beautiful LED lights. “Lightweave” fully showcases the interactivity and accessibility of the city in order to bring a standard underpass to life. L Street Underpass: 2nd Street in NE, DC; www.futureforms.us/lightweave

“ReCOVERing the Classics”
Workhouse Art Center’s interactive exhibit showcasing redesigned book covers will have you reminiscing about the Scholastic Book Fairs of your childhood. This exhibit captures the importance of what is sometimes lost in modern literature. Runs through August 4. Workhouse Art Center: 9518 Workhouse Way, Lorton, VA;  www.workhousearts.org

“Rise Up: Stonewall and the LGTBQ Rights Movement”
Honoring the 50th anniversary of the Stonewall riots, the Newseum pays tribute to the LGBTQ civil rights movement by highlighting the trials and tribulations that sparked the revelation of LGBTQ First Amendment freedoms. With the use of artifacts, images and historic publications, “Rise Up” offers a glimpse inside this fight for equality. Runs through December 31. Newseum: 555 Pennsylvania Ave. NW, DC; www.newseum.org

“Solaris Shelter for The Next Cold War”
Critically acclaimed artist Mark Kelner uses his artistic creation to make a fun, interactive experience at Culture House DC (formerly Blind Whino). His pop-up exhibit addresses the tension of war propaganda in modern America, and his funny sneer at modern advertisements creates a unique approach to using art as a way to address sometimes uncomfortable issues. Runs through July 7. Culture House DC: 700 Delaware Ave. SW, DC; www.culturehousedc.org

Photo: Jati Lindsay

HERstory Presents a Love Letter to Women in Hip-Hop

The culture of hip-hop has made it difficult for women to be respected the same way male artists are with its vulgar and misogynistic lyrics. Playwright Goldie E. Patrick’s “HERstory: Love Forever, Hip Hop” paints a picture of struggles women in the industry have experienced over time, while celebrating the legacies and trailblazers that have contributed to hip-hop culture. 

As the audience walked in and found their seats, a DJ played classic tracks, which brought people to their feet. WPGC 95.5 radio host Poet also walked around and asked the audience what hip-hop album or song made them fall in love with the genre. 

After seeing the production in its entirety, it’s easy to understand why that question was important. The atmosphere with classic hip-hop tracks playing brought people to their feet and set the stage for what the audience was going to learn. While a fun performance, it sparked an ongoing conversation on how the genre has positively and negatively connected people in various ways.

The production, performed on June 14-15, at the Kennedy Center pulls its inspiration from Common’s 1994 song “I use to Love H.E.R.” The narrative portrays hip-hop as a woman named H.E.R. who is in the hospital and in critical condition. The audience is introduced to four characters who all have some connection to the music, but through very different lenses. 

“HERstory” begins prologue by Ya girl, KK, played by Heather Gibson, who “spills the tea” on her social media about H.E.R. being in critical condition. As a former gossip columnist, Gibson’s character serves as a sort of female version of Perez Hilton. Her opening prologue proves how gossip on social media can negatively impact the public’s misconceptions on the personal lives of an artist, and how the media pits female artists against each other. 

Later on the audience is introduced to the four characters; Maxine, a die-hard fan; Eve, a passionate graduate student who has been in contact with H.E.R.; Lele, a music producer who’s worked with H.E.R.; and Isys, a former performer that has been H.E.R.’S life for some time.

The whole cast is successful on shedding light on issues, while still depicting the positive impact hip-hop culture has on female artists. Eve, played by Billie Krishawn, portrays an outsider and the youngest character. Unlike the other three, she is not in the industry, so all she knows is information filtered through the media or through her studies as a grad student. As the youngest and most optimistic character, through her the audience is reminded of how and why they first fell in love with the genre.

For more on playwright Goldie E. Patrick, visit www.goldiepatrick.com.

The John F. Kennedy Center for the Performing Arts: 2700 F St. NW, DC; 202-467-4600; www.kennedy-center.org

Fiberglass animals by Kusama Yayoi // Photo: courtesy of National Gallery of Art

Animals In Japanese Culture Come to Life at National Gallery of Art

“Something old and something new” is what comes to mind when thinking about the National Gallery of Art’s new exhibition, The Life of Animals in Japanese Art.

Animals are the main thematic element, represented through mediums ranging from sculptures and fashion gowns to paintings and statues. There are also sculptures, couture gowns and other more interactive features, all depicting animals as a through line.

The exhibit contains more than 300 pieces of artwork, spanning from the fifth century to present day and was curated by Los Angeles County Museum of Art’s Robert T. Singer and Chiba City Museum’s of Art Masatomo Kawai, in consultation with other Japanese art historians.

Because the collection focuses on one particular theme in a wide variety, visitors should expect a certain degree the desire to revisit, as the scope of the works likely requires a couple of views for one to fully grasp each artistic concept.

A piece that caught and kept my attention were three fiberglass cat statues by artist Kusama Yayoi; nestled just outside the main exhibit’s entrance. At first glance, the cats reminisce of figurines an aging cat lady might use as living room decor, but upon a deeper look, I pictured myself as a kid collecting stuffed animals similar to Yayoi’s aesthetic. The polka-dot statues make a very loud and playful statement with vibrant colors.

The main entrance opens up into a section on the 12 Zodiac animals from the Edo period. Here, wooden plaques with paintings of each animal were displayed. For those who don’t know, Japan follows the Chinese astrological system, in that certain animals are represented by birth years rather than birth months. In particular, learning about astrology and the characteristics along with the subject has always been an interest of mine, so this piece struck me on a personal level.

The entire collection ends with one of my favorites; a room of modern couture gowns by fashion designer Issey Miyake. Many art collections have fashion pieces but not like Miyake’s pleated designs. The dresses are displayed with mannequins on a runway-like platform, and I imagined the figurines coming to life by how they were positioned; in running stances as well as typical fashion poses.

Issey Miyake’s gowns // Photo: courtesy of National Gallery of Art

Visitors will be able to visually comprehend how Miyake’s inspiration of nature and animals flows through each pleat; with inspiration from starfish, monkeys and birds.

For more information about The Life of Animals In Japanese Art, visit here. The exhibition runs through August 18 at the National Gallery of Art’s East building.

National Gallery of Art: Constitution Avenue and 6th Street, NW, DC; 202-737-4215; www.nga.gov

Vintage Tea Party // Photo: Dominque Fierro

Different Artists, Influences Come Together With One Voice

One Voice, an exhibition featuring numerous DC LGBTQ artists created an inclusive space for activists, art lovers and pride month participants for an intimate experience at the Kimpton Carlyle Hotel. Creatives like Tom Hill, Jorge Carceres, Dominique Fierro and Wayson Jones each displayed individual works that illustrate their viewpoints in the selection. 

The exhibit runs through September 2, and opened at the beginning of June for Pride Month. Though the art is free to see, there is a $5 suggested donation for The Trevor Project.

Walking into the lobby of the Carlyle Hotel near Dupont Circle, you’re immediately greeted by works from Hill, both bright and captivating:  “Scratch Where It Itches, In a Whirl,” draws you into the building, until suddenly you’re into the main lobby area, where an entire room is utilized. Throughout, each artist is generously given their own separate gazing area, which allows the viewer to better take in and interpret the message behind the work. 

A DC native, Hill has always been an advocate for civil rights. From a young age, he’s been driven to bring peace and prosperity to those fighting for equality, which has given him a unique outlook on life, one that eventually brought him to his career in art. He’s specifically interested in what it means to be “queer,” in the modern era. Hill uses male figures, accents of glitter and striking acrylic. He draws his audience in with the intention to question the life of a man living in the gay community. With bold lettering and their own individual message, he defines it as sublime and multi-dimensional. Particularly placed within the exhibit, it casts light on the depiction of the queer man. 

As you make a lap around the exhibit, you also run into the work of Fierro, who uses photographic depictions of vulnerability. The black and white images of “Vintage Tea Party and Raw” have dire emotion, where you see women covered by shadows who appear timid and irrational. The presentation provides no particular direction, you observe in caution as though they were in the room with you. Fierro uses uncomfortable scenes to truly captivate her impression: their souls and she uses photos to show their world.  

Lastly, Wayson Jones places an element of surprise within his gallery. Surrounded by vibrancy, his luminous and eerie paintings rein over the room, stricken with curiosity an observer could even question the reality behind the creations. Does it relate to his identity? How does it portray to being in the LGBTQ community? And what type of impressions would this make on the everyday person?  But as he exclaims, the art is up for interpretation. His portrayal of black shaded figures within a white materialistic background; “Ancestor, Death Threat, Boxed In,” abides by his idea of a distaste for the mistreatment of his community. Members of the black and LGBTQ community have faced years of discrimination and supreme adversities.

These are all very different artists with unique influences who came together for this one night to help form a powerful message with a variety of perspectives influenced by nostalgic sentiments, nature and civil rights. Though each are strong and loud enough on their own, the impact of these works under one roof is undeniably heightened as they intersect and compliment to form “One Voice.” 

“One Voice” runs through September 2.  Learn More about the exhibit at here.

Kimpton Carlyle Hotel: 1731 New Hampshire Ave. NW, DC; 202-234-3200; www.carlylehoteldc.com

Maps Glover // Photo: Timoteo Murphy

A Day In The Life With DC Artists Making Social Impact

Living in the DMV spoils us.

We have free access to world-class art at nearly every turn. But beyond its revered and iconic collections, the District is also home to an incredible array of artists working in experimental forms, crossing disciplines, and breaking down boundaries between tradition, style, design, politics and social justice. These artists are creating and chronicling the cultural landscape of DC today. They are not just leaving their mark on the city, but are also asking us to examine our own place in it – in a multitude of unexpected ways.

Consider Northern Virginia native JD Deardourff, with works installed everywhere from overpasses to the bottom of a pool, who is helping to literally repaint the face of the city. Or Xena Ni, a designer who describes her interactive installations as “civic journalism storytelling physical sculpture lawsuit art,” and that’s in addition to her line of feminist superhero underwear. Or a performance by Maps Glover, which may as well be a portal into a whole other experience of the world you think you inhabit.

While their mediums and inspirations vary, their commitment to making a social impact will never go out of style.

Photo: courtesy of JD Deardourff

JD DEARDOURFF

On Tap: There is sometimes tension around the term “street artist” and what it means to different people. Do you identify as a street artist?
JD Deardourff: I probably would just say artist. The way I got into it was primarily as a screenprinter –  that’s sort of my go-to art form – and one of the cool things about it is a rich tradition of wheatpasting and dissemination of imagery, either giving it away or pasting it in alleys or on light boxes. I was doing it before I was doing more “corporate stuff.” I’m an artist who does screenprints, murals, paintings and collages.

OT: When you’re getting ready to start a new project, what are the main factors that you consider and what motivates your creative process? What draws you toward a new project?
JD:
I like to think of it as a “one for them, one for me” situation. Some of the work I get to do pays for me to do other projects for free. Murals and commissions are probably half the time. The other half of the time is some personal projects I’ve been working on. I had a show last year where I sold all of the artwork I had and it was also the release of my first zine, Uncanny Fantastic. It’s basically a catalog of all of the personal art that I’ve done in comic book form. I’m working on volume two of that zine, so making a new body of work, which will correspond to the pages of the zine I’m going to drop in September.

OT: It seems like your career has progressed pretty quickly. Does it have to do with DC?
JD:
It feels like I planted a shitload of seeds like five years ago and the way that they’ve built up is that they all bloomed simultaneously. For example, conversations for one mural project I’ve been working on near Hotel Hive started in 2016. Sometimes, there’ll be something that’s like two years in production and that will coincide with something where I get an email the week before.

OT: What are some of your favorite projects?
JD:
I love doing shows. Last year, a highlight was a solo show I did with CulturalDC’s Mobile Art Gallery at Union Market. And then I’m super proud of Uncanny Fantastic. The recycling truck for the DC DPW [Depart of Public Works] has my artwork on it. This pool in Silver Spring is super cool. It’s in a building call Central. When the art direction is solid, those murals look the best.


JD CAN’T LIVE WITHOUT
My family (especially my eight-year-old nephew), my genius girlfriend Kelly + my friends, but mostly just my dog Bruce
Spotify, live shows + music (The Ramones, The Clash, classic rock)
Comic books 
Actually making artwork
Pop’s SeaBar
My little field notes book


OT: Do you think that mural arts are rivaling the “high art” that DC is known for?
JD:
I think definitely it’s one of those things where this art form has gained momentum. More and more people are commissioning murals. Initially, there were more bar and restaurant-type clients and now I think it’s cool to get, for example, law firm types interested in that kind of vibe. You get more of a critical mass. I don’t know if it’s a bubble sort of situation, but it’s definitely on the uptick.

OT: How do you feel that impacts both the physical and cultural landscapes of the city?
JD:
I think it’s good. For instance, Pow! Wow! just happened in NoMa and it’s is super cool in terms of the murals making that neighborhood what it is. It’s all the flavor. I understand some people might call it art-washing or make arguments that it can be bad for the community, but I don’t feel that way. And I think those battles are kind of over. It’s creating a cool flavor that wasn’t there 15 or 20 years ago.

Find Deardourff on the web at www.deardourff.com and on Instagram @jddeardourff.

Photo: Peter Gonzalez

XENA NI

On Tap: What brought you to DC and the art space that you exist in now?
Xena Ni:
I had just finished my fellowship at Code for America and was leaving Oakland where I was living. I was just sitting on the train and intentions for the next year popped into my brain. I wanted to make weird art with people. I was keeping an eye out for that when I moved to DC. I’d been assured by one of my coworkers that there were people doing weird things in DC.

OT: And did you find them?
XN:
Yes! I’m a designer and I’ve always been adjacent to art. But it was really coming to DC and finding my dream job that gave me mental space to take my art practice more seriously. An organization that’s been really great in DC has been The Sanctuaries. I participated in one of their fellowship programs. We were learning more about how art can respond to events like protests, and also to think more about how to work with communities in a respectful way.

OT: Do you feel like the people or places or themes or issues that you’ve encountered here have guided the work or the projects that you’ve chosen in a specific way artistically?
XN:
I have met a lot more working artists or artists who are taking their practice seriously, and realized how important it is to just know and be friends with other artists who are going through the grind. Collaborations have been so energizing.


XENA CAN’T LIVE WITHOUT
The archive (a daily writing ritual)
My IUD (affordable healthcare and reproductive freedom make so much possible)
A clunky, squeaky, dependable Raleigh Sprite bike
Public parks (Kalorama Park, Kingman Island, Banneker)
Overflowing cart of art supplies


OT: What are a few projects you’ve worked on in the past couple of years that really stand out to you?
XN:
One that’s been really top of mind: the most recent iteration of it is called “Transaction Denied” and it is a room-sized, immersive multimedia installation, which showed at UMBRELLA in April. It tells the story of what it takes to apply for food stamps in DC and what happens when the government spends a lot of money to make the system work, but there’s not a lot of accountability and the government and the vendors dispute responsibility and as a result, thousands of people in DC either lose their benefits or face unusually long delays that are also really damaging.

OT: What did that look like, visually?
XN:
It takes abstract oppressing social issues and creates interactive, immersive big pieces to bring attention. I also wanted people to do something. People left their reactions, or their own stories on the walls of the exhibit.

OT: Where will the installation go next?
XN:
That installation is evolving. My co-artist Mollie Ruskin and I learned about a lawsuit a collection of legal aid organizations had brought against the city to seek justice for all the people who had lost their benefits or faced delays. We are now working with one of the main organizations that brought the suit, Bread for the City, and they are going to install it temporarily in their space.

OT: Any other notable projects?
XN:
I also like traditional, representational art. [This project] started off with not having any photographs of what my older relatives looked like when they were young because they couldn’t afford photography or they had to destroy when the Communists took over, and I just started drawing what I thought my grandmother looked like when she was my age. It felt like I was reclaiming my history and also underscoring that I could never actually access that history. It has morphed into this less personal project, which is drawing possible portraits from the future.

OT: How do you draw portraits from the future?
XN:
It’s like time travel in portraiture. It’s work that usually happens one-on-one with someone interested in orienting. It’s partially like a guided meditation [or] playful interview where I transport people to a scene from their possible future life. What I’ve really enjoyed about it is both what people come up with and their emotional reactions. Usually someone cries.

Follow Ni on Instagram @msknee and check out www.averyseriousdesigner.com.

Photo: Ashley Llanes

MAPS GLOVER

On Tap: You do a lot of performance art, as well as working within more traditional mediums. What drives you creatively?
Maps Glover:
DC has this electric energy that forces you to address social issues on a daily basis, and so that’s really what has kept me here and fueled my practice. A lot of my work really is a commentary about social dynamics. Where are we going? What are we trying to understand?

OT: Is that why you came back to DC?
MG:
Yes. I started making art in college and transitioned into doing things in New York. Coming back home, I wanted to see what I could contribute to this scene. There weren’t a lot of artists that were doing performance and I really wanted to dive into understanding what that felt like in DC. I felt like DC was a really good space to do it because it’s the intersection of politics and anti-establishment.

OT: When you’re approaching a new project, what are the most important factors?
MG:
Sometimes it’s a matter of what is fueling me at the time. Sometimes it’s something I feel really passionate about, or sometimes I have personal relationships with the subject, whether it be police violence or some of the work that really feels like an introspective experience of me analyzing my internal dialogue through visual interpretation. As an artist, I personally feel like it’s our responsibility to be social commentators. There are issues that may come up that we may not be fully familiar with, but to creatively explore those topics, I think that artists should try to be more fearless in taking on different spaces that don’t necessarily relate to them.

OT: In those instances, how do you get to the point of understanding something well enough to create something that you feel can open the dialogue?
MG:
I think that you should educate yourself first and foremost. At the same time, the artistic process is a learning one. It’s kind of like this experimental method and then it becomes this conversation of how does this connect to the larger picture?


MAPS CAN’T LIVE WITHOUT
My sketchbook
Micron pens
Talenti mint gelato
Hugs from my very special friend
My mom’s cooking (tries to get down to her house every other week to grab a plate of food)


OT: There are times when it must be a struggle between letting this process happen and also being aware of what it means to people once you put it out there.
MG:
That happens all the time, honestly. I’m always looking for the experience that I’m having to be real and true to myself and then I just see other people witnessing that – the authentic experience that I have within myself. For example, I did an exhibition at the Transformer gallery back in October and I really wanted to create a space that was a response to the spiritual connection that I was really beginning to have a dialogue about in my work.

OT: How did you do that within the bounds of a gallery?
MG:
We had six weeks with each artist. We transformed Transformer. My religious background is Christian, so I was eventually crucified within the center of the stage. I had a friend who grew up in a cult, so she did a kind of ritual ceremony. I had a friend create a website live and DJ at the same time. It just had so many layers, and that is why I felt like the piece was successful.

OT: DC is in an interesting place in terms of what it does and doesn’t support in the arts. What do you think that looks like in terms of opportunities right now?
MG:
We need safe spaces for artists to be able to live and support themselves in a city that is continuously changing. If you don’t incorporate or consider the creatives who are part of the fabric of why people even come to this city, then what’s the point? The amount of channels and space for artists of all kinds to show is just very limited and everyone is scratching for the same resources. To get to the higher levels of creativity, people leave the city.

Learn more about Glover at www.acreativedc.com/maps-glover and follow him on Instagram @mapsglover.

No Kings Collective’s Brandon Hill and Peter Chang

No Kings Collective Is Here To Play Forever

“A mural’s not going to stop anybody from getting murdered. But is it less likely for bad things to happen on a super visible corner? Probably.”

I’m sitting across from Brandon Hill and Peter Chang when Hill tells me with full earnestness that it’s easy for an artist to tell the narrow story of, “We painted a mural, so things are better now.” But it’s the ability to shift a community’s perception by making a street corner feel safer that truly makes an impact.

We’re sharing a high-top overlooking an eerily empty Nationals Park on a recent Saturday morning, just a stone’s throw from the pair’s latest mural capturing the Americana spirit of DC baseball. When I arrive, the artists are putting some final touches on their new work, and it’s immediately apparent to me that the founders of creative production brand No Kings Collective embrace the hustle.

I don’t mean this in a buzzwordy kind of way. They’re not “creatives” or “tastemakers” that press the flesh at events and slap their name onto a project for brand recognition. They haul gallons of paint, set up ladders, break down scaffolding, brave the elements. They paint for a living.

But that isn’t to say they don’t use their brand for good. They’re both adamant about supporting the city’s art scene, especially in neighborhoods that benefit directly from their work.

“We’re all about bringing accessibility for arts and culture to the DC community,” Chang says.

He brings a fierceness and intensity to the conversation, one that commands respect, as he and Hill open up about some of the misconceptions of how No Kings came about and what they actually do.

“I’ll take this chance right now to set that straight. We’ve done a mural for Turner Elementary in Southeast. We have multiple projects in Ward 7 and Ward 8. We work with so many different nonprofits in the city. We’re all about not taxing the artists, not taxing the people. Almost all of our events have been 100 percent free.”

The artists say community projects like Turner Elementary are no-brainers, and while they are working artists relying on paychecks from commissioned pieces, they go above and beyond on a regular basis to give back to the city’s many neighborhoods – especially those that are struggling.

“I think artwork in public spaces is the bee’s knees,” Hill says after letting me know that he’s about to get super meta for a second. “I just think that it’s the bee’s knees to be able to get paid for something that benefits the public.”

A SCRAPPY START

No Kings is a familiar name in the District, attached to a myriad of projects and pop-ups. But like so many of us that play in creative spaces, what they actually do sometimes gets lost in the shuffle of their hip factor. 

“It’s interesting to hear how we’re perceived because I know what the story is, and it’s a lot more scrappy than it might seem,” Hill says.

The pair banter like an old married couple, ribbing each other mercilessly and bouncing ideas around weighty topics off one another in the same breath. Their friendship goes back 14 years to senior year of college; Hill hails from Baltimore originally, but has called DC home for the last decade, and Chang grew up in Silver Spring.

Chang says as a brand, No Kings stretches back to 2009 but became a business in 2013.

“A lot of people don’t understand a lot of the things we’ve done even before No Kings was a brand,” he says. “They think we’re just this thing that popped up out of nowhere.”

I ask the guys for clarity: No Kings is a group of artists that does large-scale public fine arts projects and gets people really excited about art content and art happenings. They use the term creative agency(ish) to demonstrate they’ve got the resources to take on projects much broader in scope than what a typical artist or art group could tackle.

When it comes to division of labor, Chang gives Hill full credit as creative director for the past year. And Hill says Chang’s ball game is creative direction in the agency(ish) space, “where murals or public artwork can be merged with social happenings or activations and require real strategic planning.”  They split administrative work, business development and other unsexy parts of the daily grind evenly; they both have zero interest in taking all the credit or making it about themselves.

“We just do what we have to do when we have to do it to get things done,” Chang says matter-of-factly. “Everything just falls under the No Kings wheelhouse, so anything we produce, we just tell people we [are doing it].”

Their refreshing lack of pretention extends to their team of five part-time artists who support projects as needed. They’re not looking for the biggest names in the local art world. They need problem solvers who aren’t afraid to get their hands dirty.

“Just because someone’s a really, really talented artist doesn’t mean they’d be a good worker to paint murals because you have to problem-solve a lot of practical issues, and those issues do not exist in a controlled studio,” Hill says. “Sometimes you’re just fighting the weather or you’re coming in at night to do your projection work. You’re always defeating something and none of that can aesthetically be shown. People see flowers. You need a mixed bag of art and contractor: someone who can think with both of those brains.”

GOOD ART FIRST

It’s been a busy year for No Kings, with no plans to slow down anytime soon. The agency(ish) turns 10 this year, and Chang says they’re going big. Next up is their block party on June 29 to close out the Apple Carnegie Library’s StoryMakers Festival, and the launch of a No Kings-themed corned beef and kimchi sandwich at old-school Brentwood deli MGM Roast Beef on July 13.

Hill says they’re also currently working on 15 walls throughout the city, and while the Nats mural had its big unveiling in mid-May, he still plans to make minor changes throughout the summer to ensure it’s fan-proof. He wears the hat of a sentimentalist and a pragmatist simultaneously, walking me through the symbolism of this homage to America’s favorite pastime while also being real about the high-traffic location of the artwork.

“A really good piece of art can age, so that was a challenge to think through. How can we execute these more pressing goals – to reflect the organization and baseball as a whole and to make it as Nats-y as possible – but then also make sure it’s something that can age well both from an aesthetic and technical perspective? There’s going to be beer and popcorn and children and people leaning on the wall. How do you keep this thing looking good?”

Hill takes the collaboration seriously, especially because the team approached No Kings directly and had a vision in mind for what they wanted the piece to represent. He likens murals to getting a tattoo, where you navigate any gray area with your tattoo artist before deciding what that rose or anchor is going to look like on your body. But with the Nats, he and Chang had to encapsulate the feeling of newness in the ballpark while also reflecting the nostalgia and family values tied to the sport.

“Baseball is a really unique thing because it goes back to the 1850s, but it’s [also] a completely modern thing. Everything in this ballpark is modern – alien grass, alien dirt, Under Armour – there’s technology in this park, right? But we still think about it with a nostalgic lens. That’s a constant challenge [with] anything that’s OG: trying to always be relevant, [and] trying to explain its newness and oldness at the same time.”

Hill and Chang had another first this spring in terms of creative direction for a commissioned project. Amtrak contacted them to help visually inform its annual Sustainability Report, taking form in a mural behind social sports company DC Fray’s Brentwood office [full disclosure: No Kings shares office space with DC Fray, which owns On Tap Magazine]. Hill collaborated with Amtrak’s creative team to tell a visual story about what Amtrak does through the piece, including the incorporation of lesser-used colors in the railroad service’s color palette.

Now, he’s working with Amtrak’s head designer in the sustainability department to bring the report to life by the end of this summer, with photos of rail workers and other Amtrak employees in front of the mural on hand. Hill is all about the process: he’s drawn to projects that give him the opportunity to inform the public, and possibly shift their perception of a piece or area. 

“I love the ability to be able to defend work and tell a story. If you were already familiar with a piece, that’s the best kind of art because you get to learn new things about a thing you thought you were already familiar with.”

I’m not the first reporter to ask the artists how they feel about the potential impermanence of some of their work, but they tell me it’s something they take into consideration often. Hill says in a weird way, painting a building that might be demolished soon is actually desirable because they can take greater risks with the content and attract more eyeballs.

“If it’s a really awesome piece and it’s got a shelf life, people are going to rush and make sure to catch it before that shelf life’s over.”

I ask another common question because I find it truly fascinating: how do they feel about their work being so Instaworthy? Hill doesn’t view the selfie as a unique issue for art but says it’s strange nevertheless to have an entire group of people who have nothing to do with fine art distributing your work.

“When I’m on the computer designing, I am not inserting a little character of a person to figure how good they will look,” he says.

Still, he says it’s a net win for artists if their work is included in a vanity shot on someone’s Instagram, and someone in another city can easily follow the photo credit back to the artist’s website and consume their content. Chang cuts to the chase with a more direct answer.

“A lot of our clients will say, ‘We want it to be Instagrammable.’ And we’re just like, ‘Why don’t we make good art first? And if it’s good, then people can decide [if they want to post it to Insta].’”

BREAD + BUTTER

Nearly 90 percent of No Kings’ current output is commissioned work pitched to Hill and Chang, but they remain selective about what projects they take on. The real bread and butter, they tell me, is the opportunity to take projects they’ve been asked to approach in a traditional way to the next level. Sometimes this happens by chance, and other times because they’re charged up about the subject matter and know they can take it up a notch in record time.

The former “Work It, Gurl” mural on 14th Street is their self-described bread-and-butter case study. The piece (originally meant to be a 20 x 20-foot mural on a building wall) was commissioned by the Whitman-Walker Clinic at Elizabeth Taylor Medical Center to bring visibility to their work in the LGBTQ+ community.

When the guys learned about the clinic’s efforts, they refused payment, got a grant from the DC Office of Planning and reached out to their sponsors for support. No Kings painted the entire building and threw 14 events in two months.

“We just ballooned that,” Hill says. “We had this public art thing, but we went beyond the aesthetic to try and figure out: How can it be used? Who can we help? But we don’t know everything so it’s kind of like if you build it, they will come, right? We knew people would interact with it. But we didn’t know how, so let’s execute the aesthetic and then let’s just see what else can happen.”

The inspiration for these projects seems to be mostly altruistic in nature, but I see a bit of a competitive flicker in their eyes – not competitive with other artists in the market, but with themselves to face the challenge of making something bigger than anyone originally though it could be.

“That’s why our goal for every event that we do, every mural we put out, every project and collaboration that we do, [is to] push the bar further,” Chang says.

A more recent example, and undeniably their most successful art event yet, was 14th Street’s UMBRELLA in April. The opportunity to plan the three-day pop-up in a mixed-use development fell into their laps; they were approached about using the space before it was torn down and decided to put something together with people they respect who are doing cool things in the District.

“Afterwards, our project manager was like, ‘Wow, I think that was the most successful art fair that DC’s ever done,’” Chang says. “And Brandon and I were like, ‘We threw an art fair?’ And then we looked back at it and we were like, ‘Yeah, it was an art fair.’”

The guys are particularly proud of this effort, as they should be – the event was planned in a whirlwind month-and-a-half and brought in at least $100,000 for participating artists.

“We made zero dollars on UMBRELLA,” Chang continues. “We didn’t take a commission. That money directly impacted those artists.”

They also speak in earnest about the crowd that UMBRELLA – and all No Kings events – brought out. Chang says it’s super diverse, which feels uncommon in what they describe as a segmented city that still self-segregates itself along money lines.

“When you go to our events, it’s all ages, all races, all different demographics. I think that’s the biggest thing we’ve been proud of is to create excitement for the arts for everyone.”

REAL RECOGNIZE REAL

I’m admittedly surprised when Chang and Hill get real with me about how they’ve had to fight to carve out a space for themselves as working artists in DC’s creative scene. They recall countless galleries and “creatives” who wouldn’t give them the time of day a decade ago; and now, some of those same folks are reaching out to collaborate with No Kings. In fact, Hill says their name is reflective of their struggle to get into the “polished art scene” in their early days.

“It strikes a nerve because we’ve been busting our asses for 10 years and no one gave us the time of day or recognition,” Chang says. “Now [when] we get a little bit of it, people come out of the woodwork just hating.”

Hill keeps it light, inviting the haters to come out and work one of his days.

“Be my guest,” he says, chuckling.

Even still, he says the memory of No Kings’ evolution is long, deep and littered with lack of acceptance from DC’s art scene.

“[The haters] are still just not getting that a smaller city can make a bigger footprint by working together and not being divisive. If someone is going to say ‘No,’ I already can’t work with you. So we’re just going to do our own content and work with people that want to work.”

At the end of the day, the guys remain unphased because they knows the proof is in the pudding.

“When it comes down to the actual creatives in the city who are doing stuff, it’s just real recognize real,” Chang says. “I know who is actually putting in the work and they command respect, as we command respect from other people in our industry. The more you can open people’s eyes up about what’s going on in the city, and what artists are doing and what real creatives are doing, then the people who have just been masquerading really can’t get away with it anymore. I think it’s slowly happening.”

But Chang and Hill are still playing the game, because they are in DC for the long haul and they’re not about burning bridges – as tempting as it may be.

“I mean look, this ain’t 8 Mile,” Hill says. “I’m not going to drop a mic after the rap battle and be like, ‘F–k you all,’ you know? It’s a small town. You’ve still got to work with these people. It’s not personal, right?”

Resiliency seems to be the secret sauce for No Kings; there’s a lot to be said for maintaining a thick skin and positive attitude when you have to play in the same sandbox with artists determined to compete for the same resources instead of banding together to create and promote interesting content.

“They view us as this new guard or whatever, but me and Brandon have been here 14 years,” Chang says.

“On a lift working,” Hill chimes in, before Chang tells it like it is yet again.

“We’ve seen trends come and go, but we’re here to play forever.”

Follow No Kings Collective on Instagram @nokingsdc. Learn about their projects at www.nokingscollective.com.

Photo: courtesy of Eaton

DC’s New Wave of Hotels: Socially Aware Cultural Hubs on the Rise

The way we experience commerce is changing.

In the Internet age, shoppers who make the effort to visit bricks-and-mortar expect more than an experience. They want to activate good – whether through self-improvement, support for local artists or improving the workforce.

Take the brand-new Apple store, now housed in the Carnegie Library, which was lovingly restored to include a learning atrium and upgraded space for the resident DC History Center. Initial fears that Apple would exploit and destroy the Beaux-Arts space have evaporated amid excitement that locals are promoting the stylish, revitalized platform. This includes a three-day block party hosted by creative agency No Kings Collective at the end of June to wrap up Carnegie’s six-week StoryMakers Festival.

The way we travel is going through the same evolution. In 2019, if someone is going to pause Insta and actually go somewhere, the most attractive hotels are those integrating social awareness, the arts and cutting-edge comfort with the guest experience – and enriching the local scene in the process.

Guests are not just buying a hotel room. They are selecting from a menu of self-improvement, artist and small-business support, and modern style. The stylishness is immediately obvious when you walk into Eaton DC, located on the quiet side of Franklin Square downtown. The enormous windows, lush natural foliage and blonde paneling immediately impart a sense of balmy well-being.

Eaton DC Radio // Photo: Adrian Gaud

But style – and Instagramability – is only part of the experience.

“Eaton DC not only serves as a hotel, but at its heart, as a platform reimagining hospitality as a vehicle for art and radical progressive social change,” says Katherine Lo, founder of Eaton Workshop, which encompasses the hotel.

The lobby includes a recording studio, home of Eaton Radio, and Lo is excited to officially launch Eaton Media later in 2019.

“As one of the core pillars of Eaton Workshop – culture, impact, media, wellness and house – Eaton Media’s mission will support underrepresented filmmaker voices and stories in line with the brand’s radical and progressive values, championing diversity and inclusivity across gender, race, identity and more,” she notes. “We will curate, develop, produce, distribute and celebrate original, rarely seen and commissioned short films from filmmakers whose development as artists and storytellers we are truly honored to support.”

LINE DC’s Full Service Radio // Photo: Pierre Edwards

Meanwhile, LINE DC leads with style and a sense of history. The hotel is an AdMo Insta-star for its location in a breathtakingly restored 19th-century neoclassical church (the church’s organ was transformed into a contemporary chandelier).

“The LINE is wholly shaped by the neighborhood that we’re part of, and by the city at large,” says Morgan H. West, creative/culture director at the LINE.

Guests can peer into the glass-enclosed recording studio, home of Full Service Radio, a community podcast network and Internet radio station. Recent episodes include “Opaline: Briona Butler’s Iridescent Utopia in DC” and “WPA Live Series: Veronica Swift & the U.S. Air Force Band.”

The LINE also operates the Adams Morgan Community Center, a community and nonprofit incubator space that provides free space and capacity for the arts and philanthropic efforts, with priority given to artists and nonprofits in Ward 1.

“Whether it’s through partnerships with the DC Public Library, the Ward 1 nonprofits working in the Adams Morgan Community Center, or the artists featured throughout the hotel and in our rotating public art program – we’re proud of the constant cultural and creative exchanges that happen across our spaces,” West says.

But not every stylish, socially conscious hotel needs a radio station. With a focus on modern budget travelers, Pod DC has led the way in integrating city life into its amenities and using them to move guests out into the District beyond the museums and monuments.

Photo: courtesy of Pod DC

Guests can access Cove, DC’s homegrown coworking brand, to get work done or network with local entrepreneurs. And rather than operate an onsite gym, guests use the nearby Washington Sports Club. Local guides lead walking tours from the lobby, and guests are encouraged to use the bike and scooter sharing services to get around.

And Pod DC has not sacrificed style in the process. Guests entering the lobby are mesmerized by the 60-foot-long multimedia art piece, created by painter Katherine Tzu-Lan Mann and glass artist Joseph Corcoran. The building also features other local artists through a partnership with CulturalDC, a nonprofit that partners with real estate developers and government agencies to ensure that arts and culture efforts are showcased across the city.

DC’s urban development incentives have certainly helped hotels looking to embrace local arts and community initiatives. But these Washington hotels have baked social and cultural dynamism into their brands as well as their business plans, and in the process are anchoring themselves in local life in a way that hotels have too often missed out on. I think it’s time for a staycation.

Eaton DC: 1201 K St. NW, DC; www.eatonworkshop.com/hotel/dc
LINE DC: 1770 Euclid St. NW, DC; www.thelinehotel.com/dc
Pod DC: 627 H St. NW, DC; www.thepodhotel.com/pod-dc

Photo: courtesy of Kendra Kuliga

Drinkable Designs

“What I’m trying to do is provoke a reaction. What I see in the world, I’m trying to reflect that back.”

Michael Van Hall describes contemporary art as reflective. His work is found in all corners of the DMV, but not in galleries or on brick walls. Rather, it’s on shelves, in refrigerators and, after encounters with thirsty observers, in trash cans.

His canvas – no pun intended – is beer cans and he’s not the only artist dabbling in the craft brew world. As beverage options crop up around the city, one way for them to stand out is by having an aesthetically appealing product beyond taste.

Michael Van Hall’s Design for Stillwater Artisanal

“There’s a fandom around beer, kind of like music,” Van Hall continues. “It’s recognized as a venue for creativity. It allows and enables. In beer, the novelty doesn’t wear off because we’re always pushing.”

Van Hall has commissioned work for a number of breweries including DC Brau, Vanish Farmwoods Brewery and Aslin Beer Company, to name a few. He views each project as a chance to create art rather than branding, which allows him to take risks others may forgo.

“One of the primary things I tell them is you’re working with an artist, not a design company. You have to be ready to take risks and do things that are seemingly in contrast with good business. No board is going to approve what I do, but the customers will approve.”

Kendra Kuliga, 3 Stars Brewing Company’s designer, established her niche in the craft brew world by working on murals at Meridian Pint before moving onto posters, branding and labels. When 3 Stars founder Dave Coleman decided to begin bottling and canning their beer, he reached out to Kuliga to collaborate on the look.

“I wanted to see how the new craft beer scene was trying to identify itself as more independent and less corporate,” Kuliga says. “It was very clear that the canvas for a label was extremely art-friendly. You can make cartoons or intense battle scenes. It’s really up to you. It’s about finding a balance in detail and something that captures a customer’s eye.”

Unlike Van Hall, Kuliga works almost exclusively with 3 Stars as far as can design, so each creation carries an aesthetic she and Coleman developed and built from scratch.

“[Coleman] gives me ideas for what he wants. He’ll explain and then I’ll do the research and add details. There are label artists who are sought out for their art, but at the end of the day, I want to represent the people I’m working for. It takes a lot of people to come up with a beer and a label, and I want everyone to feel good.”

While Kuliga and Van Hall have made can design part of their careers, crating both one-off releases and year-round staples, there are other avenues for beer can art.

Image: courtesy of Maggie Dougherty

This month, DC Brau is set to distribute their third annual Pride Pils just in time for the District’s Capital Pride celebration. Like previous iterations of the limited brew, the famed beer company held a contest for what design would adorn the aluminum containers. This year’s winner was local artist Maggie Dougherty.

“I have been following the competition the last few years and I had a sketched design for the past two competitions, but I didn’t submit it,” Dougherty says. “With this year’s theme about Stonewall and its 50th anniversary, I thought it was a challenging mechanism to tell a story.”

Dougherty’s bright yellow design displays different colored flowers, each carrying its own significance, wrapped around an illustration of notable transgender activist Marsha P. Johnson. As with any artistic depiction of a weighty subject, Dougherty spent countless hours reading and learning. 

“I’m really honored to be the third design in this line, and I did feel the pressure to represent a community that I’m an ally to,” she says. “I wanted to highlight the life of someone who gave their life to this in a way I couldn’t possibly understand.”

But getting creative with cans isn’t exclusive to the craft industry. Pabst Blue Ribbon has held their annual Art Can contest since 2014 in an effort to inspire creative cans for their iconic beer. One of this year’s winners was DC visual artist Tenbeete Solomon, perhaps best known as Trap Bob.

“I was hoping to get my name in front of them, not even considering actually winning,” Solomon says. “I’ve never designed a beer can before but I am a beer drinker, so I’ve always wanted to.”

Her design will adorn 5 million of the company’s 24-oz. cans distributed starting on October 1. Rather than the traditional ribbon look, these special editions feature a more science fiction appeal featuring a spaceship and a large hand reaching out. 

Image: courtesy of Tenbeete Solomon

“Hands and space [and] aliens have always been major inspirations for me,” she says. “I wanted to really get out of the box and weird with my design, because I knew that was something not only PBR would appreciate but also people just walking through the grocery store. The design on a beer can is the most distributed form of branding for a [beer] company so having something creative, eye-grabbing and on top of that, supportive of the creative community, is the best branding you can have.”

Both Daugherty and Solomon indicate that designing a beer can was an enjoyable experience and one they’d revisit. Just as there are countless brewers behind the scenes working on new ways to bring you explosive flavors on the inside, there are now just as many hungry artists looking to make a splash on the outside.

Van Hall has noticed the growth in the medium and is on board for more people joining him in pushing the boundaries. For him, it’s justification for the work he’s become known for.

“It’s a magnet for artistic creativity and in a way, that’s very harmful to my business but I love it,” he says. “When I come up with a good label, it’s because I’m being pushed by the industry. There are so many people that are doing very good work, and that brings everybody up.”

Maggie Dougherty: @dockerty_creative; www.dockertycreative.com
Kendra Kuliga: @cielo.productions; www.cieloproductions.com
Tenbeete Solomon: @trapxbob; www.trapbob.com
Michael Van Hall: @opprobriations; www.opprobriations.com

Arena Stage’s “Jubilee” Provides Musical Portrait of HBCUs

Jubilee, showing at Arena Stage at the Mead Center for American Theater, takes a necessary step to illustrate the importance of Historically Black Colleges and Universities, also known as HBCUs. Written and directed by Tazewell Thompson, a transcendent experience is facilitated with the help of choral singing, witty dialogue and a cast worthy of praise.

Quite like most uplifting minority stories not considered for mass population, Jubilee centers around a narrative, though familiar to few, resonates with the masses. Thompson’s original piece, inspired by a public television documentary, tells of the plight of a courageous group of college students – some teenagers – who advocated for what was considered a trivial, lofty pursuit back in the mid-1800s.

Thompson’s eye-opening portrayal carefully leads theatregoers down a road of resiliency, where thirteen hopefuls endure the wrath of the south.

In 1871, Fisk University, overcome with financial hardships and on the verge of foreclosure, organized an a cappella group to fundraise for the institution. Hoping to fundraise their education, which they designated as their opportunity for survival, the group encountered all that could be imagined while traveling the Bible Belt, post American Civil War.

Most of Thompson’s theatrical ideation leans on the traditional spirituals sung throughout the Underground Railroad. Selections include “Swing Low Sweet Chariot,” “There’s a Balm in Gilead,” “Come Down Moses” and the list goes on.

Each of these historical songs, still sung in churches today, encouraged and carried these idealistic yet realistic youth through extreme hardships that were synonymous with bigotry.

Thompson takes this surreal tale and imbeds humor to keep the inspirational a cappella tribute in fact inspirational. You will have the opportunity to deeply bond with these heroes, as they share the truth behind being part of the African Diaspora. The tale recounts childhood, love formed, painful memories that are beautifully expressed in song and spoken word throughout the performance.

Be prepared to be mesmerized by the varying genres of music naturally harmonized onstage. Each cast member has the responsibility of being pitch perfect, and they all rise to the occasion. The surprising part about the vocal talents for this performance was the four roles played by understudies. I can only imagine the heartfelt soul shaking vibrato that would have lifted us further from our seat, if those primarily cast had been in attendance.

Again, each singer is able to carry their own, and they were undeniably put to the test as each were presented with opportune solos. Thompson, evidently, has a knack for pairing singers and selections. While the vocals varied and tunes were broad, the curation was heavenly. The diversity of complexions (organically referenced in throughout the play) paralleled the diversity in tone, makes this spectacle a true sight to see.

Viewers who enjoy opera styled sopranos will feel at home. Those who favor raspy jazz riffs will be most delighted. Those craving soft melodies will croon. And those desiring a deep full bass will fall out of their seats. It was a dream come alive.

Jubilee runs at Arena Stage’s Mead Center for American Theater through June 9th. Various times and ticket prices. For more information, visit
www.arenastage.org/tickets/season-landing/jubilee/.

Arena Stage: 1101 6th St. SW, DC; 202-554-9066; www.arenastage.org

Clones of Clones Return With New Single “Mine”

Almost exactly a year to the day from their release of the This Means War EP, DC-based indie rockers Clones of Clones are back with a new song called “Mine.” It kicks off their campaign toward the release of a new album, and they’ll release more singles as the band works toward finding the perfect timing to grace listeners with new material in full. In the meantime, let the magnificent new track and our conversation with singer and guitarist Ben Payes tide you over ’til you undoubtedly hear more from this band on the rise.

On Tap: Start by telling us about this new song. You mentioned it’s going to be part of an upcoming album. Why did you end up choosing this as the first single?
Ben Payes: Prior to this album, if a song didn’t work in practice or in a live session, we would send it to song purgatory.  I think we tried to arrange “Mine” in a practice session three or four years ago, but it wasn’t doing anything for us. Many times, if a song gets tossed to the side, it doesn’t mean it’s a bad song. In fact, we loved the melody and rhythm of this track. We just couldn’t get it to sound good in a live setting.      

Occasionally, I go through my hard drive and listen to old songs or demos. When I listened to the demo again after not hearing it for years, I felt that instant rush of endorphins you get after hearing a new song you like. The playful melody, big electronic drums, strange detuned vocals and a slightly-out-of-sync arpeggiated synth pulled me back in.

OT: What was the process of bringing it back into the limelight?

BP: I brought it to the band and we decided to arrange the track in the studio instead of in practice. This was a new process for us and I think it worked really well. In fact, we liked the process so much that we arranged and wrote a handful of album tracks in the studio. We do all our recording in a home studio these days, so we have the luxury of writing and arranging while recording without incurring crazy pro studio costs.

We picked “Mine” for the first single simply because we really like the song and wanted to share it with everyone as soon as we finished it. It was fun to create, we finished it fairly quickly, so it never felt stale to us, and we think people will connect with it.


OT: Tell us more about the timing of your upcoming album.
BP: We plan on releasing one single every month until we feel like the timing is right to drop the album. Could be three singles, could be eight. We want to give every song a chance to get some ears on it. With previous large releases, a handful of songs just don’t get the same audience as the lead singles. The streaming services seem to be pushing artists toward single releases too. We’re happy to oblige because it allows us to string the marketing period out and build a bigger audience in the process.

OT: Are there any major themes, musically or lyrically?

BP: We’ve never really been into overarching themes for records. I think that requires a lot of planning, awareness and intention and that’s just not really our thing. We write songs that we’re into and make us feel good and we hope it vibes with others.   

OT: Did writing or recording this album differ in any way from your past work?

BP: Every album we’ve made says a little bit about what we feel and what we’re into in the time of that record. That situation probably sets up some sonic themes. I’ve been listening to The Beatles’ White Album a lot lately and I’m really into the concept of nonconforming arrangements. We’ve always treated every song like it could be the one that propels us to the next level. In order to do that, we had to write and arrange in a box; everything had to sound and feel like a pop single. Don’t get me wrong, we really enjoy pop arrangements and I think that’s a huge reason why we stuck with them for so long and why we continue to write them.

We operated a little more outside of that box on this album. There are a couple ditties, some strange interludes and we used sounds we’ve never used before. It still sounds like us, but maybe a more liberated and fun us.

OT: How has the DC music scene supported you over the years? Do you feel it’s changed at all?
BP: Three out of four of us grew up in the DMV, so we have a lot of roots here, we definitely feel a special connection to the city. Brian and I currently live in the city. There’s too much to say about DC and the evolution of its art culture since we became involved in the local scene. I think our first show was at the Red and the Black on H street over 10 years ago. Clubs, bands and even some of our band members have come and gone since then. It’s been fun to see the scene change over the years.

OT: What is the best thing about being part of this community?

BP: The best thing about the scene is the people. If people are at a local show, whether it’s listeners, club engineers and employees, or musicians, they want to feel a part of this DC arts community, for better or for worse. It’s not the easiest scene to get into or remain a part of, especially because of how transient the city is, but I think that makes the community bonds even stronger. We’ve made great friends over the years with like-minded artists. It’s nice to have that support group when you’re going through the creative process; the lows can be as low as the highs are high, and it’s nice to have fellow musicians to share those experiences with and to help you stay centered.

OT: What do you all look forward to most with the release of new music?
BP: We’re mostly excited to see how people react to the music. For people that have heard our stuff before, we hope “Mine” will be a welcomed change. For people who have never heard of us, we hope to make new fans with the song and the upcoming releases. We’re also still trying to figure out the most effective way to release music for us in the streaming age. So I think the next few single releases and the album will give us plenty of opportunities to see what works best.

OT: Any upcoming tour dates planned?
BP: No upcoming tour dates at the moment, but stay tuned.

Listen to “Mine” by Clones of Clones here. For more on the band, visit clonesofclones.bandcamp.com.