* Nicole Cohen: Driving in Circles
* The Dark and Humorous Mind of Heather Wilcoxon
* Dafna Kaffeman: What Could be Sweeter Than Going to Paradise?
* Julie Linowes: Stain
* Marisa Baumgartner: Grande Avenues
* Linn Meyers: A Very Particular Moment --> SHOWN SEPARATELY
Nicole Cohen: Driving in Circles
January 25 through March 13, 2011
Berlin– and New York–based artist Nicole Cohen presents new work, “Driving in Circles,” video projections with sound and sculptures. They engage audiences in the crossroads of reality, fantasy and culture. Layering videos of D.C.’s iconic traffic circles, Cohen uses multiple projects of the city’s urban landscape to create synthesis between historical points of reference and contemporary perspectives.
THE DARK AND HUMOROUS MIND OF HEATHER WILCOXON
January 25 through March 13, 2011
Heather Wilcoxon brings a San Francisco Bay area perspective to her seemingly whimsical but politically-charged paintings that express the humor, fear, absurdity and brutality of the human race. Always inspired by environmental issues, Wilcoxon’s newest series, Sludge Drawings, is a grouping of haunting images that document her response to the recent oil spill in the Gulf of Mexico.
Dafna Kaffeman: What Could Be Sweeter Than Going to Paradise?
Israeli artist Dafna Kaffeman’s delicate glass sculptures mimic organic forms including leaves, fur and flowers. Her small works and large scale installations often deal with issues raised by the Israeli-Palestinian conflict. The installation “Mantis Religiosa” is based on a statement made by a young Palestinian. It consists of lifelike lampworked glass objects and found handkerchiefs embroidered by Israeli men.
Julie Linowes: STAIN
January 25 through March 13, 2011
Julie Linowes creates emotionally wrought installations where beautiful, translucent images are layered disturbingly against spreading, seeping lacunae.
Marisa Baumgartner: Grande Avenues
January 25 through March 13, 2011
As a Washington D.C. native, New York-based artist Marisa Baumgartner uses the intricacies of its complex system of circles and cross streets. For this new exhibition, she explores the implications of D.C.’s monuments through photography, text drawings, works on paper and a 20-foot tall window image of General Artemas Ward, the subject of the statue overlooked by the American University Museum at the Katzen Arts Center.
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