November 2019 Exhibitions at American University Museum at the Katzen Arts Center

By Editorial Team on November 4, 2019
Christine Neill, Strangler Fig, 2019. Watercolor on laser cut Arches paper, 39 x 28.5 in. Courtesy of Goya Contemporary. Photograph by John Dean.
Opening Reception: Saturday, November 9 from 6pm to 9pm

Michal Heiman
Radical Link: A New Community of Women, 1855-2020
Curated by Sarah Gordon
November 9 – December 15, 2019
Radical Link is the latest project by Tel Aviv-based multi-media artist Michal Heiman. Traversing time, space, gender, race, and institutional practices of asylum, Heiman offers a new way to extend solidarity to those who engage in acts of resistance by creating a new community. It includes women who have been subjugated by the Surrey County Asylum in London and the San Servolo Asylum in Venice, asylum seekers, artists, activists, prosecutors, gatekeepers, and those who have suffered under the violence of racism and misogyny. Through the strategies of intervention and the use of archival materials, photographs, films, sound work, and her presence in the gallery, she generates the political, cultural, gendered, and psychic conditions of a potential “radical link.”

The exhibition is accompanied by a fully illustrated book, including essays by curator Sarah Gordon; Sharon Sliwinski, Professor of Information and Media Studies at the University of Western Ontario; Orna Ben-Naftali, Émile Zola Chair for Human Rights and Lecturer at the Haim Striks School of Law; and artist Michal Heiman.

Christine Neill, Strangler Fig, 2019. Watercolor on laser cut Arches paper, 39 x 28.5 in. Courtesy of Goya Contemporary. Photograph by John Dean.

Curated by Mollie Berger Salah
Presented by the Alper Initiative for Washington Art
November 9 – December 15, 2019
Christine Neill is a nationally celebrated American artist whose work blends motifs of biological examination with visual processes and techniques. She has exhibited widely while influencing thousands of students over her long tenure as professor at the Maryland Institute College of Art. The effects of environmental changes on human life, and the reaction of the earth’s habitats to these threats underlie her investigations and images.

December 5, 5:30-7PM
Free and open to all, RSVP and more info here. [4]

Courtesy of the artist.

Curated by Dr. Tina Kinsella
November 9 – December 15, 2019
“Fair is foul and foul is fair” as claimed by the witches in Macbeth describes a world where nothing—no message, no deed—is ethically clear. In Shakespeare’s fair/foul world, evil walks abroad in the guise of good, and all expectations are confounded and confused.

In this double exhibition by Alice Maher and Aideen Barry, tropes of what could be considered fair and foul morph into unrecognizable, interchangeable and above all, challenging artworks. Both artists engage at the fault lines of artmaking where sociocultural movements, media, imagery, and language overlap and collapse in order to animate new, personal ways of communicating this semiotic conundrum. Both also bring an individual, stinging humour and critique to their investigations of hybridity, carnality, and social politics in historical time. In her film works, Barry explores concepts of the Uncanny and the monstrous feminine, where she finds foundational substrata reflective of her own lived experience. The human-animal-machine becomes, for her, a vehicle of an anxious interrogation of the boundaries of the psyche. Equally, Maher’s hand finished woodblock prints and hand-pressed sculptures advance her continued questioning of the phenomenon of the material present. Her hybridized images and objects expose phenomenological questions and excitations inherent in the body, and its psycho-dramatic task of being human. The focus of both artists on the interchangeabilities of fairness and foulness is played out in this exhibition with a fascinating and urgent energy. Presented in collaboration with Solas Nua.

November 9, 5-6PM. Free and open to all, RSVP and more info here.

November 9 – December 15, 2019
“Woodward’s paintings have impressive depth and richness,” Mark Jenkins, The Washington Post (2019)

William Woodward’s vibrant, 72-foot mural, Arcadia (1980), evokes a landscape of pure painterly invention, a lost world that has inspired poets, artists, and musicians since antiquity.

These 11 impressive panels—with scenes influenced by artists from Poussin to N.C. Wyeth and Howard Pyle—these magical forests, naked nymphs and frolicking fauns, satyrs, centaurs, and mystical seashores with mermaids, pirates, and treasure ships—became a success de scandale when they were first unveiled at the now legendary Clyde’s Restaurant of Tyson’s Corner, Virginia.

December 14, 6-7:30 PM. Free and open to all, no RSVP required.

Courtesy of Katzen Arts Center.

November 9 – December 15, 2019
Over the past dozen years, Frank Hallam Day’s personal work has been devoted largely to exploring the world at night. The visually intriguing dark world offers mysteries and ambiguities, and lends itself to the introspective creative space he prefers. His work comments on a number of salient themes: the relationship between contemporary society and nature and the pace of technological change, aging, isolation, and obsolescence. The markedly formal, unabashedly elegiac images also investigate influences from the history of painting to a degree unusual in contemporary photography. Day’s work has been described as “intimate yet subtly epic.” He looks for an “annunciatory light” transforming everyday things, like plastic market bags and public phones, into objects of special significance. In the words of Louis Jacobson at the Washington City Paper, he “showers a ray of almost spiritual light into the night’s dark corners.”

November 16, 3-4 PM. Free and open to all, RSVP and more info here.

American University Museum at the Katzen Arts Center located at 4400 Massachusetts Avenue NW. For more information, call 202-885-1300.