Arts & Entertainment
SPRING ARTS 2020: Galleries galore
David Amoroso, Delita Martin, Volkmar Wentzel among artists in current exhibitions
Local gay artist David Amoroso pays homage to ’70s TV with his exhibit “Raised by TV” at Artists & Makers Studios (11810 Parklawn Dr., Rockville, Md.) featuring paintings of Agnes Moorehead (“Bewitched”), Florence Henderson (“The Brady Bunch”), Fred Rogers (“Mister Rogers’ Neighborhood”), Bea Arthur (“Maude”), the cast of “The Jeffersons,” the cast of “Charlie’s Angels,” Carol Burnett, Jean Stapleton (“All in the Family”), Mary Tyler Moore and more. The exhibit runs through March 26. Amoroso also displays his work in the back room at Miss Pixie’s.
The Teresa Lozano Long Gallery of the National Museum of Women in the Arts (1250 New York Ave., N.W.) displays “Delita Martin: Calling Down the Spirits” through April 19. This exhibit contains seven large prints of black individuals, which Martin created and decorated using a variety of means in order to “create a new iconography for African Americans based on African tradition, personal recollections and physical materials.” Admission is $10 for adults, with discounts for students and seniors. Members and those 18 and under enter free.
The American University Museum at the Katzen Art Center (4400 Massachusetts Ave., N.W.) exhibits both the paintings of late AU Professor Emeritus Robert Franklin Gates (in a showing titled “Paint What You See”) and the work of late National Geographic photographer Volkmar Wentzel through May 24. The AU Museum is open to the public and admission is free.
The National Gallery of Art (6th and Constitution Ave., N.W.) hosts “True to Nature: Open-Air Painting in Europe, 1780–1870” through May 3 in the inner tier of the ground floor of its West Building. This exhibit features around 100 oil sketches of landscapes across Europe, created by artists among the likes of Jean-Baptiste-Camille Corot, John Constable, Simon Denis, Jules Coignet and André Giroux. Admission is free.
CulturalDC presents “Rendition” by Zoë Charlton at CulturalDC’s Mobile Art Gallery in Union Market (5th and Neal St., N.E.) through March 22. According to CulturalDC, this collection of sculptures and assorted artwork “addresses cultural identity, race, commodity and cultural tokenism.” Admission is free.
The Phillips Collection (1600 21st St., N.W.) showcases “Moira Dryer: Back in Business” through April 19, describing the assortment of paintings and sculptures as “the first comprehensive museum exhibition to consider the early work of Moira Dryer.” Admission to this exhibit and other ticketed exhibits is $12 for adults, with discounts for students and seniors. Museum members and those 18 and under enter free.
Zenith Gallery’s Upper Northwest Gallery (1429 Iris St., N.W.) displays “Carl Alexander: The Last Washington Color School Painter” through March 21, on which day a closing reception will be held from 2-6 p.m. Alexander studied under famous artist Morris Louis as an early member of the Washington Color School movement, which went on to become world-renowned. Admission is free.
Hillwood Museum (4155 Linnean Ave., N.W.) exhibits “Natural Beauties: Exquisite Works of Minerals and Gems” through June 7. The items presented in this showing “are crafted from materials like jade, agate, onyx, rock crystal, amethyst, jasper, malachite and lapis lazuli.” Suggested donation is $18 for adults, with lesser amounts requested of seniors, college students and children ages 6-18. Children under 6 and Hillwood members are not asked to donate.
The National Gallery of Art (6th and Constitution Ave., N.W.) hosts “Raphael and His Circle” through June 14 in Gallery 22 on the ground floor of its West Building. The gallery celebrates the 500th anniversary of the artistic great’s death with a display of 25 artworks, including four drawings and five paintings by Raphael himself. Admission is free.
The Smithsonian American Art Museum’s Renwick Gallery (17th and Pennsylvania Ave., N.W.) presents “Hearts of Our People: Native Women Artists” through May 17. The Renwick Gallery refers to this exhibit — a collection of more than 80 artworks crafted through varied means throughout history — as “the first major thematic show to explore the artistic achievements of Native women.” Admission is free.
The Textile Museum at the George Washington University Museum (701 21st St., N.W.) showcases “Delight in Discovery: The Global Collections of Lloyd Cotsen” through July 5. Cotsen “assembled thousands of textile fragments, garments and other artworks that reflected his admiration for indigenous cultures and vanishing artistic traditions,” with the intent “to create opportunities for a wider audience to appreciate 3,000 years of human creativity.” Suggested donation is $8 for adults. Museum members, children and current GW students, faculty and staff are not asked to donate.
ARTECHOUSE (1238 Maryland Ave., S.W.) displays “Hanami: Beyond the Blooms” through May 25. According to ARTECHOUSE, in this exhibit, “hand-made ink illustrations by Yuko Shimizu are transformed digitally to follow vibrant cherry blossom flowers on an exciting and interactive journey through land, sea and air” — just in time for cherry blossom season. Admission is $20 for adults with discounts for students, seniors, military members, children and tickets purchased online.
After being closed to the public for almost four months to allow for repairs, the National Building Museum (401 F St., N.W.) reopens today with “The Architects’ Photographer,” which will be exhibited through March, 2021. According to the National Building Museum, this showcase will both feature the work of professional architectural photographer Alan Karchmer and examine “the practice of architectural photography writ large.”
Transformer (1404 P St., N.W.) hosts “Which yesterday is tomorrow?” by Dahlia Elsayed and Andrew Demirjian from March 14-April 25. According to Transformer, this exhibit “reimagines the Silk Road caravanserai as a potential site for the exchange of ideas and culture,” taking over the interior of Transformer with its furnishings, soundtrack and aromas in the process. An opening reception will be held from 5-8 p.m. on Saturday, March 14.
The Kreeger Museum (2401 Foxhall Rd., N.W.) presents “Objects from the Studio: The Sculptor’s Process” from March 17-May 23, describing it as a showing that “brings together maquettes, sketches and other objects from sculptors’ studios to explore how outdoor sculptures are made, focusing on works from The Kreeger Museum’s Sculpture Garden.” The “suggested donation” is $10 for adults, with less requested of students, seniors and military members. Members are not asked to donate.
The Smithsonian American Art Museum (8th and F St., N.W.) showcases “Alexander von Humboldt and the United States: Art, Nature and Culture” from March 20-Aug. 16. This exhibit is the first to examine the impact that Humboldt, a famous Prussian explorer, had on “the visual arts, sciences, literature, politics and exploration” between 1804-1903. Admission is free.
The National Gallery of Art (6th and Constitution Ave., N.W.) displays the work of Lynda Benglis from March 22-Jan. 24, 2021. It displays 33 works made between 1966-2003 revealing “how Benglis has forged new forms by constantly exploring different techniques, materials and mediums.” Admission is free.
The Arthur M. Sackler Gallery (1050 Independence Ave., S.W.) exhibits “Meeting Tessai: Modern Japanese Art from the Cowles Collection” from March 28-Aug. 2, describing this showcase as “the first one held at a major museum in the United States in more than 50 years to explore the significance of pan-East Asian influences — a pertinent topic in today’s interconnected world — through the work of Tessai and modern Japanese painting.” Admission is free.
The Smithsonian American Art Museum’s Renwick Gallery (17th and Pennsylvania Ave., N.W.) is suspending “1.8 Renwick,” an installation by Janet Echelman, from the ceiling of the Rubenstein Grand Salon from April 3-Aug. 14, 2022. This massive work consists of “knotted and braided fiber with programmable lighting and wind movement above printed textile flooring,” with a shape inspired by data gathered from the earthquake that rocked Japan on March 11, 2011. Admission is free.
Hirshhorn Museum (7th and Independence Ave., N.W.) presents “One with Eternity: Yayoi Kusama in the Hirshhorn Collection” from April 4-Sept. 20. Describing Yayoi Kusama as “a visionary artist whose revelatory practice has captivated audiences around the world,” the Hirshhorn Museum announced that this showing would “affirm Kusama’s legacy within the Museum’s collection and art history with three significant new acquisitions.” Admission is free, but due to this exhibit’s inclusion of small, enclosed spaces, same-day timed passes — available at the Hirshhorn Museum on a first-come, first-serve basis — are required for exhibit entry.
Waverly Street Gallery (4600 East-West Hwy #102, Bethesda, Md.) showcases “Visual Paradise” by Stephane Themeze from April 5-May 2, with an opening reception from 6-9 p.m. on April 10 and an artist’s reception from 1-3 p.m. on April 26. According to Waverly Street Gallery, the works in this photography exhibit encapsulate Themeze’s conviction that “there is visual pleasure to be had at almost every corner and moment of one’s daily life.” Admission is free.
Arts & Entertainment
In an act of artistic defiance, Baltimore Center Stage stays focused on DEI
‘Maybe it’s a triple-down’
By LESLIE GRAY STREETER | I’m always tickled when people complain about artists “going political.” The inherent nature of art, of creation and free expression, is political. This becomes obvious when entire governments try to threaten it out of existence, like in 2025, when the brand-new presidential administration demanded organizations halt so-called diversity, equity and inclusion (DEI) programming or risk federal funding.
Baltimore Center Stage’s response? A resounding and hearty “Nah.” A year later, they’re still doubling down on diversity.
“Maybe it’s a triple-down,” said Ken-Matt Martin, the theater’s producing director, chuckling.
The rest of this article can be found on the Baltimore Banner’s website.
‘La Lucci’
By Susan Lucci with Laura Morton
c.2026, Blackstone Publishing
$29.99/196 pages
They’re among the world’s greatest love stories.
You know them well: Marc Antony and Cleopatra. Abelard and Heloise. Phoebe and Langley. Cliff and Nina. Jesse and Angie, Opal and Palmer, Palmer and Daisy, Tad and Dixie. Now read “La Lucci” by Susan Lucci, with Laura Morton, and you might also think of Susan and Helmut.
When she was a very small girl, Susan Lucci loved to perform. Also when she was young, she learned that words have power. She vowed to use them for good for the rest of her life.
Her parents, she says, were supportive and her family, loving. Because of her Italian heritage, she was “ethnic looking” but Lucci’s mother was careful to point out dark-haired beauties on TV and elsewhere, giving Lucci a foundation of confidence.
That’s just one of the things for which Lucci says she’s grateful. In fact, she says, “Prayers of gratitude are how I begin and end each day.”
She is particularly grateful for becoming a mother to her two adult children, and to the doctors who saved her son’s life when he was a newborn.
Lucci writes about gratitude for her long career. She was a keystone character on TV’s “All My Children,” and she learned a lot from older actors on the show, and from Agnes Nixon, the creator of it. She says she still keeps in touch with many of her former costars.
She is thankful for her mother’s caretakers, who stepped in when dementia struck. Grateful for more doctors, who did heart-saving work when Lucci had a clogged artery. Grateful for friends, opportunities, life, grandchildren, and a career that continues.
And she’s grateful for the love she shared with her husband, Helmut Huber, who died nearly four years ago. Grateful for the chance to grieve, to heal, and to continue.
And yet, she says of her husband: “He was never timid, but I know he was afraid at the end, and that kills me down to my soul.”
“It’s been 15 years since Erica Kane and I parted ways,” says author Susan Lucci (with Laura Morton), and she says that people still approach her to confirm or deny rumors of the show’s resurrection. There’s still no answer to that here (sorry, fans), but what you’ll find inside “La Lucci” is still exceptionally generous.
If this book were just filled with stories, you’d like it just fine. If it was only about Lucci’s faith and her gratitude – words that happen to appear very frequently here – you’d still like reading it. But Lucci tells her stories of family, children and “All My Children,” while also offering help to couples who’ve endured miscarriage, women who’ve had heart problems, and widow(ers) who are spinning and need the kindness of someone who’s lived loss, too.
These are the other things you’ll find in “La Lucci,” in a voice you’ll hear in your head, if you spent your lunch hours glued to the TV back in the day. It’s a comfortable, fun read for fans. It’s a story you’ll love.
The Blade may receive commissions from qualifying purchases made via this post.
Theater
Minimal version of ‘Streetcar Named Desire’ heading to Dupont Underground
Director Nick Westrate on this traveling take on Williams’s masterwork
‘A Streetcar Named Desire’
Produced by The Streetcar Project
April 20-May 4
Dupont Underground
19 Dupont Circle, N.W.
Tickets start at $85.
Dupontunderground.org
An aggressively minimal version of Tennessee Williams’s “A Streetcar Named Desire” is poised to run at Dupont Underground (April 20-May 4), the nonprofit cultural space located in a repurposed, abandoned 1949 streetcar station beneath Dupont Circle.
The Streetcar Project’s production performs in site-specific spaces. It’s almost entirely without design elements. There is no steamy, cramped Vieux Carré apartment. You won’t see Blanche’s battered trunk exploding with cheap finery, faded love letters, and demands for back property taxes, or the familiar costumes.
Co-created by Lucy Owen (who stars as Blanche DuBois) and out director Nick Westrate in 2023, this traveling spare take on Williams’s masterwork about a fragile woman on the margins in conflict with her brutish brother-in-law seems a reaction to necessity. It’s also an exploration of whether, like Shakespeare’s “Henry V,” it can subsist on language alone.
With little distractions (even Blanche’s cultivated southern belle accent has been daringly stripped away), the spotlight shines almost solely on text. “This play holds that,” says Westrate, 42. “I remind the actors that the while there is plenty of movement, language is really the only game in town.”
New York-based Westrate, who’s best known as an esteemed actor with New York and regional credits including Prior Walter in János Szász’s production of “Angels in America” at Arena Stage, describes “Streetcar” as “the most perfect play on earth” but not one he thinks of acting in (“I’m not right for Stanley Kowalski or Mitch”) though he agreed to direct.
“These days if you’re not a not a movie star or an established director, you’re not likely to do “Streetcar.” So, for us, we have to be able to do it with almost nothing, on the New York subway if necessary. And that’s kind of how we built it.”
Westrate first experienced Dupont Underground while attending a staged reading. He was so obsessed with the space as a prospective place to take the production, he found it hard to concentrate. He says, “With its long, curved track and tunnel, Dupont Underground is a terrifying, beautiful room that carries so much metaphorical weight, so much possibility for our production.”
WASHINGTON BLADE: Is finding the right space for this “Streetcar” part of the thrill?
NICK WESTRATE: Whenever I enter a weird room or pass by an abandoned CVS, I try to figure out how we might do the show there, especially places that are dilapidated, architecturally odd, or possibly haunted. And each space we use, lends something to the production. The Rachel Comey store in Soho was a very Blanche coded space. And an artist’s workshop on Venice Beach in California with its huge saws and metal hooks lent raw imagery. The scenes between Blanche and Stanley near the end were absolutely terrifying.
BLADE: More recently that same bare bones production has played in more traditional spaces like the Wheeler Opera House in Aspen and San Francisco’s A.C.T. Is it hard to now go to Dupont Underground?
WESTRATE: Each time we do this we have to crack open the play again because the staging is entirely new, but we’re used to performing in unusual spaces and Dupont Underground rather takes us back to form. As a former streetcar station, it’s the most appropriate space we’ve had yet.
The cast will literally act on streetcar tracks and go without dressing rooms but they’re game, and because they have history and authorship over the work, the sacrifice is more meaningful than if they were just some hired guns.
BLADE: Audiences have an expectation, especially with a work they’re likely to know. How do they react seeing such an unadorned take on Williams’s American classic?
WESTRATE: For the first 10 or 15 minutes, they’re unsure. Then, you can pretty much see the audience members’ brains click in and their imaginations turn on. It’s like they’re scratching an itch that they didn’t even know they had.
BLADE: Did you and Lucy foresee gaining this kind of momentum behind your vision?
WESTRATE: Absolutely not. Lucy had a philosophy that we’ll just walk through open doors. Early on, we were given spaces and artists filled the seats, and increasingly we’ve begun to rent some spaces and attract more regular theatergoers.
We basically sell tickets in order to pay a living wage to artists involved. There isn’t some big institution or commercial producer who’s getting a lot of money from this. Audiences of all types seem to respond to this mode of making theater.
BLADE: In presenting “Streetcar” intermittently, usually with the same cast over three years in wildly varying venues, have you learned more about a piece that you already loved?
WESTRATE: Mostly I’ve come to realize that Blanche is the smartest character I’ve ever read in a play. She’s like Hamlet – tormented by dreams and terrified of death. She’s skilled at wordplay and always ahead of everyone else in the room. Also like Hamlet, people think she’s insane and she uses that to her advantage.
Blanche is certainly the Everest of roles for actresses and watching Lucy sort of break it apart in a different way than you’ve ever seen, and knowing that I’ve helped to facilitate this performance has been one of the great joys of my career.
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