Arts & Entertainment

Galleries: The art of the matter

D.C. galleries — and one in New York — have bounty of queer and D.C.-themed shows planned

Published

13 years ago

February 27, 2013

‘The Helpful Angels,’ a work by late gay artist Alfonso Ossorio on display now at the Phillips Collection. (Image courtesy Phillips)

The Phillips Collection (1600 21^st St., N.W.) exhibits “Angels, Demons and Savages,” a showcase of work by Jackson Pollock, Jean Dubuffet and the openly gay Alfonso Ossorio. In their time, Ossorio was friends with both Pollock and Dubuffet, and the showcase, featuring 55 pieces by the three men, connects the three artists in a celebration of key postwar art. The exhibit is already open and runs through March 12. Admission is $12 for adults, $10 for students and seniors, and free for members and children. For more information, visit phillipscollection.org.

Yes, it’s in the Big Apple, but worth checking out if you’re up that way — the Leslie-Lohman Museum of Gay and Lesbian Art (26 Wooster St., New York) presents two simultaneous exhibitions showcasing queer history.

“Rare & Raw” combines illustrations, photographs, video and more exploring themes of queer history. The exhibit pairs works of older artists and younger counterparts to highlight how different generations address the same issues.

“Making History, Making Art: the Work of Jonathan Ned Katz” explores the artistic career of a late-emerging artist, renowned historian of queer history Jonathan Ned Katz. The exhibit shows shifting political landscapes transformed how sexual difference is represented. Both exhibits are currently running through March 31. Admission is free. For more information, visit leslielohman.org.

Hemphill’s Carroll Square Gallery (975 F Street) is featuring “Currents,” an exhibit showcasing four emerging talents in the Mid-Atlantic region. One artist in the group, openly gay Mexican-American René Treviño, attempts to retell history from an underrepresented perspective. His work challenges social norms and explores his need to find his place in the world. The exhibit runs until April 25. Admission is free.

For more information, visit hemphillfinearts.com

Touchstone Gallery (901 New York Ave., N.W.) has two exhibitions running through the month of March.

“Icons” by Steve Alderton features paintings influenced by the styles of Byzantine icons. He focuses on seemingly insignificant traits, such as an eye’s focus or the slight hint of a smile, to subtly hint at a subject’s complex persona.

“It’s Greek to Me” is a modern reinterpretation of Greek mythology. Narcissus, clad only in white briefs, ogles his reflection in a chrome toaster in his kitchen. Europa is a cowgirl at a rodeo. Prometheus sports a farmer tan. The artist, Timothy Johnson, will complete the collection with one final piece he will paint in person on Saturdays and Sundays throughout March.

For more information on these exhibits, visit touchstonegallery.com.

Corcoran Gallery of Art (500 17^th St., N.W.) is featuring several exhibitions over the next few months.

On display until April 21 is “Shooting Stars: Publicity Stills from Early Hollywood and Portraits by Andy Warhol.” It features promotional photos of early Hollywood stars, such as Rudolph Valentino and Mary Pickford, alongside Warhol’s photos of figures such as Sen. Ted Kennedy and his Factory “superstars,” like Jackie Curtis.

“Pump Me Up: D.C. Subculture of the 1980s” explores the D.C. underground of the ‘80s, focusing on graffiti, go-go music and the punk and hardcore scenes. Some items showcased include day-glo concert posters, stage clothes, newspaper clippings, video loops, and more. The exhibition runs through April 7.

“How Is the World? Recent Acquisitions of Contemporary Photography” brings together work by several photographers, each with wide-ranging issues of the world addressed in their art. It runs from March 9-May 26.

“David Levinthal: War Games” features photographs of staged tableaux depicting war using toys. Some scenes depicted include images of the American Indian Wars, World War II, and contemporary wars in Iraq and Afghanistan. The exhibition runs from May 11-Sept 1.

Admission is $10 for adults, $8 for seniors and students, and free for children 12 and younger. For more information on these exhibitions, visit corcoran.org.

Zenith Gallery is celebrating its 35^th year with several exhibits.

“Is that President Obama at the Washington D.C. Economic Partnership?” is an inauguration art show ending Monday (act fast!). The exhibit features local artists celebrating the uniqueness of Washington, including iconic symbols and architecture of the city. It is held at 1495 S St., N.W.

“The Best of All Worlds … Traditional and Modern Art” showcases paintings and sculptures that embrace the beauty of the D.C. region with depictions of natural and man-made creations. The exhibit is being held at 1111 Pennsylvania Ave., N.W. until April 27.

“Trees-The World’s Greatest Cooperators” highlights the crucial relationship between humans and trees. The pieces celebrate one of the most enduring resources on earth and respect the majesty of trees around the world and in D.C., including the Cherry Blossoms. The exhibit runs from March 17-June 1 at 1429 Iris St., N.W.

For more information, visit zenithgallery.com.

Studio Gallery (2108 R St., N.W.) presents two exhibits: a solo show with Angelika Wamsler’s “soulprint” and a duo show with “Hanna’s Table” by Chris Chernow and “Found Art” by Amy B. Davis. Both exhibitions run until March 23.

For more information, visit studiogallerydc.com.

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Celebrity News

Madonna headlines World Pride Music Festival in Amsterdam

Kylie Minogue made surprise appearance alongside gay icon

Published

2 hours ago

August 2, 2026

Michael K. Lavers

Kylie Minogue with Madonna at the World Pride Music Festival in Amsterdam on Aug. 2, 2026. (Photo courtesy of Cejlon Studio)

AMSTERDAM — Madonna on Sunday headlined the final night of the World Pride Music Festival in Amsterdam.

The gay icon took the stage shortly before 2:30 a.m. local time (8:30 p.m. ET on Saturday) during Club Confessions, a set that MISTR, a telehealth platform that offers free access to PrEP, Doxy PEP, STI testing, and long-term HIV care, organized.

“Mother is here and this is gay heaven,” said Madonna when she took the stage inside Amsterdam’s AFAS Live concert hall that can hold up to 6,000 people.

Stuart Price, who produced Madonna’s 2005 “Confessions on a Dance Floor” album and “Confessions II,” which debuted on July 2, DJed the set.

Kylie Minogue made a surprise appearance. She and Madonna performed a new remix of “Love Sensation” from “Confessions II.”

(Washington Blade video by Michael K. Lavers)

“Throughout my career, I’ve always supported efforts to fight HIV and AIDS, and that fight begins with education and access,” said Madonna in a MISTR press release. “With MISTR, (CEO) Tristan (Schukraft) is expanding access to HIV prevention and sexual healthcare for everyone. Through this work, he’s helping preserve and strengthen LGBTQ+ spaces while investing in the communities and culture that have long sustained us.”

Minogue in an Instagram post thanked Madonna, Price, Schukraft, and MISTR.

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A post shared by Kylie Minogue (@kylieminogue)

Madonna appeared at The Abbey in West Hollywood, Calif., in April. Madonna in June celebrated Pride month with a pop-up performance in New York’s Times Square.

Jake Resnicow and Insomniac produced the World Pride Music Festival that also featured Bebe Rexha and Paris Hilton, among others.

“Pride has always been about bringing our community together,” said Resnicow. “At a moment when too many people are being told to hide or make themselves smaller, gathering openly, joyfully, and without apology matters more than ever. I couldn’t be prouder of what this festival brought to life in Amsterdam — one dance floor, completely free.”

Theater

Reggie White relishing first season as artistic director of Woolly Mammoth

First five shows a reminder that ‘pressure is a privilege’

Published

11 hours ago

August 2, 2026

Patrick Folliard

Reggie D. White (Photo by Ambe J. Williams)

Madly talented and preternaturally energetic, Reggie D. White, 38, is about to launch his first season as artistic director of D.C.’s boundary-pushing Woolly Mammoth Theatre Company.

White brings a lot to the job. As actor, playwright, and director, his varied resume includes a 2019 Broadway acting debut in Matthew López’s Tony Award–winning play “The Inheritance,” his semi-autobiographic play “Fremont Ave.” that opened to acclaim last season at Arena Stage, and a number of exciting regional directing credits.

A longtime admirer of Woolly, the out theater-maker was selected from a pool of candidates before receiving the offer last November and starting work in January. His season of five world premieres kicks off with gay playwright Steve Yockey’s “Venus” (Sept. 9-Oct. 4), a darkly funny study of modern relationships told through two lesbians looking back on their first encounter.

White was introduced to Woolly Mammoth as a pre-law student at Cal State Hayward in the San Francisco Bay Area, long before he foresaw a life in the arts. “As part of a random theater history course, I was assigned to write a paper on a counterculture company called Woolly Mammoth,” he recalls “Strange name. I was like what the hell is that?”

Nineteen-year-old White was intrigued. Research acquainted him with Howard Shalwitz who co-founded Woolly in 1980, and the company’s commitment to living playwrights and new work. He also learned how theater could be used as a tool for difficult conversations and shape the way people thought about social issues by employing imagination and rigor.

“Never in a million years did young me envision that one day I’d be Woolly’s third artistic director in its 46-year history,” says White. “It’s kind of serendipitously insane.”

WASHINGTON BLADE: Was there a moment when the enormity of the job hit you?

REGGIE D. WHITE: After I’d signed my contract and finished all the paperwork, I got my keys and sat in the theater by myself in the dark and thought about what an incredible honor it is to be trusted with what happens in this beautiful space [in D.C.’s Penn Quarter]. I might have cried. Sometimes I have to pinch myself to remember it’s real.

BLADE: Are you curating the upcoming 2026–2027 season?

WHITE: Yes, I am. It’s very rare that an incoming artistic director gets to program their first season, but I was lucky in terms of time. After being hired late last year, I asked Woolly’s managing director Kimberly E. Douglas, if she thought it would be crazy if I programmed the season. She warned me it would be hard.

I invoked tennis legend Billie Jean King’s maxim “pressure is a privilege” and got to work.

These plays [dubbed White’s “first five”] represent both the kind of theater that Woolly can do really well and speak directly to my voice as curator and how I want to contribute to the larger theatrical conversation in the DMV.

Getting here has meant a lot of late nights. But I knew the juice would be worth the squeeze.

BLADE: As a queer artistic director, what makes you unique?

WHITE: When I was playing in “Inheritance” on Broadway, after a performance, U.S. Supreme Court Justice Sotomayer came backstage to meet the cast. She spoke about how her lens on the world as a Puerto Rican woman shapes her decisions. Similarly, because I’m a queer Black man I see through a lens that shapes my work.

I know I’m not the only queer artistic director in town. For me, it influences how I make editorial decisions. Out of this season’s five plays there are explicitly queer characters in four [“Venus,” “Chanukkah Spectacular,” “Ten Grand,” and “Love I Awethu Further”] and I’m directing two [“Venus,” “Ten Grand”].

BLADE: Will we see familiar faces?

WHITE: Every show this season will feature a Woolly Mammoth company member in its cast. Our company also includes designers and directors who we’ll include. I’m invested in continuing to provide a showcase for their work.

BLADE: How do you think queer audiences will receive the season?

WHITE: Very well, I think. For queer people who’ve had to navigate the world subversively and solve problems in unique ways, I think it will be especially interesting. I find theater a potent place for questions.

Like all artistic directors. I’ll show up for the job in my own way. I’m just excited that I’ve been invited to bring the fullness of myself to the role.