in the galleries: ‘afrofuturism,’ defined in the moment, by nine artists - clear acrylic sheet
Originally described African-American science fiction from Samuel R.
From Delani's novel to the jams of Funkadelic, "futurism" has evolved to include more.
Nevertheless, Niama Safia Sandy balanced the term in her subtitle "Black Magic: AfroPasts/AfroFutures" for Honfleur Gallery.
The latest news of a show in Brooklyn last year
The artist version includes three Washington actors in one of the main New York actors.
The clearest archival work is the face of history by Adama delfoine fuyundu, a document on the oppression of African-Americans, women and other marginalized groups
At the top of each piece, she covered the silhouette of her head and carefully read the past, such as news clippings about lynching, photos of women's participation in politics and "Tintin, Congo
"Pierre Bennu combines tradition and technology on ritual masks, imitating West African masks, but also incorporating parts of natural objects and today's electronic devices.
The purpose of the mask is also contemporary: to protect the wearer from threats such as celebrity culture.
History was almost buried by little Danny Simmons. 's bold mixed-media painting-collages.
One is completely abstract, but the other includes pieces of cloth, along with a long-time notorious racist name and logo
Chicken restaurant that has closed down
Fawundu is not the only artist who paints a point of view of himself or his peers. Jamea Richmond-A mix of Edwards
The title of the media to the female nude painting is "therefore vulnerable", but the look of the character seems far from unprepared.
In the silk of Ivan Ford
Black men have multiple overlapping faces on the screen.
There may be many creatures.
The God of the head, or just those who understand the value of attention (or more)
Tariku Shiferaw's large abstract painting is one of the most interesting pieces that play the surface on and below a piece of transparent acrylic.
The painting may not have much to do with the past or the present, but it vividly embodies the contradictory class and the changing ideas.
Black magic: from October, bubble/bubble futures appear in the field of vision.
7 is located at Hung Fleur Gallery, 1241 haowang Road. SE. 202-365-8392.
According to Michele Angelo, making a sculpture requires only chipping away marble that does not belong to the image.
The same principle applies to the art of Joseph Shetler, although his work is not as awesome as marble: graphic paper.
Paintings exhibited by local artists at the Pyramid Atlantic Art Center, "Practico-
"Inert" to change the shape and pattern by tracing some lines on the pre-printed mesh with a blue pencil.
Shetler overdraws the existing frame with slightly different blue shadows and slightly different line weights.
In a series of 8-by-
11 painting, the artist brings round and semi-circular as well as square and trapezoid.
Larger sections, including squares where two grid-like sheets are cut out and pasted together, limit them to the rightangled forms.
The possibilities of the graph are limited, but it looks almost infinite.
Shetler's statement of his minimalist work is both existential and his Mennonite upbringing.
Simplicity is both his inspiration and his goal. "Practico-
"Inertia" seems to be just a collection of ordered blue pencil strokes, but the artist sees it as "a rejection of what I think complicates our lives ".
Joseph Shetler: Practice
Stay inert on the view via Sept.
22 Atlantic Pyramid Art Center, 4318 galating Street, Hyattsville. 301-608-9101.
Most of the pictures in Sarna Marcus's "fuzzy boundaries" have a large number of Globes, whether full and fleshy or small and exquisite.
Local artists call these atoms "Seed Atoms" and think they may be chemical or biological.
However, there must be a reproductive atmosphere in the exhibition of the Foundry Gallery.
The few pictures that do not include the form of ovumlike instead depict a child in a cloak, which protects the child and allows him to hold the young man with both hands.
Marcus draws with oil and watercolors and with chalk, pastel and colored pencils.
Either medium, she uses shading and modeling to create a distinct sense of depth and circle, as well as the ability to reproduce.
Marcus often describes a moment of dramatic transition or beginning.
In "seed atomic splitting", the membrane breaks into quadrants, revealing pods that appear to be ready to overflow.
These photos show the artist's skills to simulate three scenes.
But so do they, like red spots that often appear --
Brown drops of water prove a form of action painting.
Fuzzy boundary: the painting of Sarna Marcus in October.
No. 1 Foundry Gallery, 2118 strip StreetNW. xad202-232-0203. foundrygallery. org.
Chris Corson, who inadvertently contrasts with Sarna Marcus's sexy paintings, has made ceramic nudity, all of which are clearly male, except for a headless nude.
There was even a man who, like Marcus's sachet, stripped his skin and muscles and tore his chest.
Colson says he focuses on the torso because it "shows what we are ".
"However, the local artist is also interested in these surfaces, because he uses three firing methods, so there is a difference in texture and tone.
Most of the skin is shining in black metal.
One is white, preferably as a billboard for several word selections from Emma Lazarus's New Colossus.
"The selection includes six large photos of Kelson's work taken by Stewart dikaimaye.
Each sculpture is different, but the same sculpture is displayed, and Corson repeatedly ignites these sculptures to produce different patinas.
The sculptor and his collaborators wrote a story of deformation without changing the form.
Chinese classical literati paintings are shown in the form of black ink, which best depicts the quiet nature. Freda Lee-
Macon's see difference also shows a fairly traditional example of this genre in Studio --
Just as a reference point.
Other images also add colors, textures, calligraphy or gestures related to modern artists, such as the spatula of Jackson Pollock.
The granite peaks become abstract, and the bright tones and parts of the collage erode the severity of the rock.
If the similarities between images are always obvious, then the difference is illuminated.
Chris Corson: talk to me and Frieda Lee --
McCann: view the differences on the view through Sept.
23 in the Studio Gallery, 2108 R St. NW. 202-232-8734. www. Studiogallerydc. com.