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Pre-Kick-off / 8th Annual Dance DC Festival . Live Concert Stage at Woodrow Wilson Plaza . 1300 Pennsylvania Avenue, NW, Washington DC . Friday afternoon, 22 July 2011 . Elvert Barnes Photography
Words Beats & Life
Visit 8th Annual Dance DC Festival 2011 at dcarts.dc.gov/DC/DCARTS/About+DCARTS/News+Room/DC+Commiss...
Pre-Kick-off / 8th Annual Dance DC Festival . Live Concert Stage at Woodrow Wilson Plaza . 1300 Pennsylvania Avenue, NW, Washington DC . Friday afternoon, 22 July 2011 . Elvert Barnes Photography
Da Originalz
Visit 8th Annual Dance DC Festival 2011 at dcarts.dc.gov/DC/DCARTS/About+DCARTS/News+Room/DC+Commiss...
Pre-Kick-off / 8th Annual Dance DC Festival . Live Concert Stage at Woodrow Wilson Plaza . 1300 Pennsylvania Avenue, NW, Washington DC . Friday afternoon, 22 July 2011 . Elvert Barnes Photography
Da Originalz
Visit 8th Annual Dance DC Festival 2011 at dcarts.dc.gov/DC/DCARTS/About+DCARTS/News+Room/DC+Commiss...
Photo taken by Stephan Barth, scan kindly provided by him for inclusion on this page.
München-Riem
January 1981
D-CART
Gates Learjet 35A
35A-354
Bavaria Fluggesellschaft
Learjet 35A-354, seen here a few days after delivery, spent 17 years on the German register, however got less spectacular colours a few years before being sold in 1997. The plane, finally registered in Mexico as XA-IRE, was tragically lost in November 2023, when it overran the runway on landing at Cuernavaca and crashed down a steep embarkment. (Source: Stephan Barth on airhistory.net)
Registration details for this airframe:
rzjets.net/aircraft/?reg=287902
D-CART with Bavaria at GRO in September 1989 (additional ADAC sticker):
www.flickr.com/photos/jordi757/50259756123
This airframe as N450GJ with Trinity Air Ambulance International at Republic Airport, Farmingdale, New York, in April 2016:
www.flickr.com/photos/34758247@N03/26561356205
This airframe as XA-IRE at CUN in October 2023:
cdn.jetphotos.com/full/5/617645_1703920856.jpg
Scan from Kodachrome slide.
Photo from the Albert Kuhbandner collection, scan kindly provided by him for inclusion on this page.
München-Riem
ca. mid- to late 1980s
D-CART
Gates Learjet 35A
35A-354
Bavaria Fluggesellschaft
Information from flickr - thanks to Kerry Taylor:
Delivered new to West Germany as D-CART on 12Dec80. To the USA as N212GA on 26Mar97. Reregistered to N405GJ on 27Jun99. Still current in 2021.
Registration details for this airframe:
www.planelogger.com/Aircraft/Registration/D-CART/737542
D-CART with Bavaria at GRO in September 1989 (additional ADAC sticker):
www.flickr.com/photos/jordi757/50259756123
This airframe as N450GJ with Trinity Air Ambulance International at Republic Airport, Farmingdale, New York, in April 2016:
www.flickr.com/photos/34758247@N03/26561356205
Scan from slide (unknown brand).
In 2015, the DC Commission on the Arts and Humanities collaborated with the Department of Public Works on a public art project named "Designed to Recycle." Artists submitted designs, and the winning designs were wrapped on 10 of the city's recycling trucks.
This truck's wrap was designed by John Deardourff and was seen collecting recycling in the Spring Valley neighborhood of The District.
More Information on the "Designed to Recycle" project is available at this link: dcarts.dc.gov/page/designed-recycle
Medium: Collage on paper
Size: 12"x16"
Copyright © by Megan Coyle
This collage was made entirely from magazine strips with a technique I call "painting with paper." I cut the paper into different shapes and layer them in such a way that they look almost like the brushstrokes in a painting.
If you have any questions about this piece, feel free to send me a message or leave a comment.
Getting up early in DC has it's benefit. The beautiful light and nature that you'd never notice. The DC Cherry blossoms surround the Washington Monument in a gorgeous manner.
Still Life (Natura morta), 1953
Oil on canvas
20.4 x 40.2 cm
The Phillips Collection,
Wasington, D.C.
© 2008 Artists Rights Society (ARS), New York / SIAE, Rome
In 2015, the DC Commission on the Arts and Humanities collaborated with the Department of Public Works on a public art project named "Designed to Recycle." Artists submitted designs, and the winning designs were wrapped on 10 of the city's recycling trucks.
This truck's wrap was designed by Yuriko Jackall and was seen collecting garbage in the Foggy Bottom neighborhood of DC.
More Information on the "Designed to Recycle" project is available at this link: dcarts.dc.gov/page/designed-recycle
Powerful typography and provocative messaging collide in this immersive installation by conceptual artist Barbara Kruger at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. Known for her signature visual language that combines black-and-white imagery with bold, declarative text, Kruger here takes over the physical space itself—wrapping walls, floor, and ceiling with confrontational questions and commands rendered in high-contrast red, black, and white.
The photograph centers on a nondescript black door, over which hangs the question: “WHEN WAS THE LAST TIME YOU LAUGHED?” The white text is printed in Kruger’s familiar Futura Bold Oblique typeface, demanding immediate attention. Beneath the viewer’s feet (and printed upside-down from this vantage), her floor text begins to reveal itself: “VIOLENCE BECAUSE IT’S...”, suggesting more language continues beyond the frame. The wall-mounted words, partially visible to the left and right, reinforce the installation’s scale and enveloping nature.
Kruger’s text-based art functions like a billboard or protest sign—intentionally loud, visually arresting, and intellectually invasive. Her work critiques consumerism, gender dynamics, cultural power structures, and language itself. At the Hirshhorn, the entire gallery is transformed into a site-specific experience that forces visitors to consider how messaging and environment influence emotion, memory, and identity.
The composition of the image is minimalist yet packed with tension. The door, physically uninviting, becomes a psychological hinge—an exit, perhaps, from the relentless text, or maybe a metaphorical passageway to self-reflection. By anchoring the image around this black void, the viewer is asked to grapple not only with the content of the words, but also with their own absence of laughter—or, conversely, its recent presence. Kruger’s prompt isn’t rhetorical; it is pressing.
The installation is part of the Hirshhorn’s ongoing commitment to presenting contemporary artists who challenge norms and engage with modern life through critical, often uncomfortable questions. The artist’s deployment of language-as-architecture turns the museum from a passive display space into a thought-provoking experience—a place where introspection, dissent, and cultural interrogation unfold in bold capital letters.
Visitors may feel unsettled, invigorated, or amused. That’s the point. In an age of information saturation, Kruger’s insistence on clarity, intensity, and blunt confrontation is both timeless and urgently of the moment. Whether you laugh or not, you will remember.
Nicholas Party’s Head (2018–2022) stands like a surreal sentinel at the Hirshhorn Museum, where it forms part of the Revolutions: Art from the Hirshhorn Collection 1860–1960 exhibit. Though created well after the exhibit's chronological endpoint, Head was included as a contemporary “intellectual descendant” of the modernist movement. Bold, stylized, and gleaming with a pop-art polish, the sculpture features a towering red head with piercing green eyes, cobalt lips, and a glossed black coiffure. Set against a deep gray wall on a stark white pedestal, the piece exudes both simplicity and psychological intensity.
The Hirshhorn’s curators assembled Revolutions by combing through the museum's archives to identify artworks that capture the shift from traditional to modern art. While the exhibit is arranged roughly by decade, visitors experience it more like "wiggly streams of paint poured beside and atop each other." Party’s Head appears in this context as a visual jolt—a playful yet probing evolution of portraiture that nods to early 20th-century abstraction while anchoring viewers in contemporary materiality and color theory.
The artist’s signature use of large color blocks, dramatic shading, and cartoonish surrealism harmonizes perfectly with recurring themes of the show: abstract features, saturated hues, and experimental form. Though the exhibit predominantly showcases art from 1860–1960, Head cleverly bridges past and present. It’s weird, it’s wonderful, and it exemplifies the Hirshhorn’s mission to highlight “cream-of-the-crop” work from its collection while keeping the dialogue between generations of artists alive.
Revolutions: Art from the Hirshhorn Collection 1860–1960 runs through April 20, 2025. It’s a must-see for fans of art history, modernism, and contemporary commentary.
An immersive, dreamlike room blurs the boundary between domestic familiarity and surreal fantasy in this installation photo taken at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. The scene is part of an ongoing exploration of surrealism and memory by Brazilian street artists OSGEMEOS, known for merging dream logic with vibrant storytelling. The entire room—walls, furniture, and even light—appears to float in a painted ocean that overtakes the interior, as if submerging memory itself.
At the center of this fictional domestic space is a round wooden table with modest chairs and a duck figurine centerpiece, grounded by a traditional patterned rug. But the realism stops there. On the wall, a pale human-faced moon reclines horizontally, its luminous gaze cast dreamily across the space, while a familiar yellow figure—seen previously in the artists’ floating boat mural—appears to rest behind a green velvet chair. A grandfather clock, mismatched picture frames, and floating houses add to the strange, dislocated charm.
Framed portraits, including one that appears childlike and another reminiscent of manga style, suggest a patchwork of cultural and emotional memory. A man’s suit hangs solemnly from a wall hook, juxtaposed with painted waves that lap at the edges of a constructed narrative—blending personal history with universal longing.
This space isn’t just a room—it’s a subconscious echo, suspended between waking life and the underwater weight of dreams. It invites viewers into a liminal world where objects breathe, time warps, and memories surface like shipwrecked artifacts.
This photograph captures the monumental architecture of the Federal Triangle in Washington, D.C., as seen from the plaza between the U.S. Department of Commerce (left) and the Federal Trade Commission headquarters (right). The curved façades, classical columns, and limestone cladding reflect the Neoclassical and Beaux-Arts styles that define much of the Federal Triangle—a historic area encompassing key government buildings built primarily in the 1930s.
To the left, the Herbert C. Hoover Building houses the U.S. Department of Commerce. Its inscription on the frieze—listing services like money orders and savings bonds—underscores the department’s broad economic influence. The building's Corinthian columns, symmetry, and monumental scale evoke democratic ideals and public service.
To the right is the apex of the Federal Trade Commission, an elegantly curved structure with a more restrained but equally powerful Classical Revival design. Visible in the plaza is Bearing Witness, a dark abstract sculpture by Martin Puryear. To the left, Federal Triangle Flowers by Stephen Robin adds a dynamic contrast with its large aluminum floral forms emerging from the fountain.
This central courtyard forms a symbolic and functional passage between government institutions and serves as a public space in the heart of D.C. Shot on an overcast day, the subdued lighting enhances the gray tones of the stone, allowing architectural details and symmetry to shine.
Documented according to standards of the Historic American Buildings Survey (HABS):
Structure Name: Herbert C. Hoover Building / Federal Triangle
Location: 14th Street NW, between Constitution Ave and Pennsylvania Ave, Washington, D.C.
Style: Neoclassical / Beaux-Arts
Date of Construction: 1932 (Commerce Building); 1938 (FTC Building)
Architects: Louis Ayres (Commerce), Bennett, Parsons & Frost (FTC)
HABS Reference Numbers: DC-354, DC-678
Loie Hollowell’s Boob Wheel (2019), displayed at the Hirshhorn Museum, is a powerful and provocative work that explores the intersections of the human body, abstraction, and color in contemporary art. Measuring over six feet tall, this mesmerizing acrylic and oil on canvas painting commands attention with its bold, biomorphic shapes and rich, saturated hues.
The composition centers on a symmetrically divided figure that echoes the natural curves of the human body, particularly the female form, while simultaneously abstracting it into a cosmic, almost spiritual realm. The painting’s top half features a soft oval suggesting a head, set above a geometric swirl of forms reminiscent of a breast or a planetary orbit. The lower half unfolds into a hypnotic pattern of curvilinear forms, evocative of buttocks or a cosmic landscape, all grounded by a warm, radiant orange gradient that bridges the ethereal and the earthly.
Hollowell’s signature use of vibrant blues and oranges creates a dynamic contrast that draws viewers into the painting’s depths, while the interplay of smooth gradients and subtle textures gives the work an almost tactile quality. The strategic placement of small, bright red spheres adds an element of movement and energy, echoing both the feminine and the universal.
Displayed on a salmon-hued wall, Boob Wheel becomes part of the museum’s architectural space, inviting viewers to contemplate its forms from multiple perspectives. Hollowell’s work challenges traditional notions of femininity and representation, blending the intimate with the cosmic to create a painting that is both deeply personal and profoundly universal.
Ann Pibal’s LDFSX (2008), on view at the Hirshhorn Museum, is a striking exploration of geometry, balance, and color theory that challenges our perception of space. Painted in acrylic on panel, this 45 x 60 inch work features a hypnotic network of orange and white lines intersecting across a black background, creating an intricate dance of form and rhythm that evokes both architecture and abstraction.
Pibal’s composition is built on a minimalist grid structure, where diagonal and horizontal lines intersect, overlap, and create dynamic shapes that seem to push and pull at the boundaries of the canvas. The bold orange lines exude a vibrant energy against the stark black, while the white lines add a sense of balance and structure, guiding the eye through the work’s shifting planes.
Installed on a vivid orange wall, the painting’s chromatic tension extends into the gallery itself, blurring the line between artwork and environment. The interplay between the painting’s internal geometry and its external setting enhances its immersive quality, inviting viewers to engage with the piece both visually and physically.
LDFSX embodies Pibal’s distinctive approach to painting, where precision meets spontaneity and order meets complexity. The work reflects her interest in modernist ideals while embracing contemporary design sensibilities. Visitors at the Hirshhorn are encouraged to lose themselves in the painting’s rhythmic interplay of lines, discovering new angles and perspectives with each step.
This installation exemplifies the Hirshhorn Museum’s commitment to presenting innovative contemporary art that invites reflection, conversation, and delight in the power of form and color.
"My life is my message." - Mahatma Gandhi
His message was built around ideals such as nonviolence, and the struggles he survived (including 4 assassination attempts before a successful 5th). What is your message?
#whatisyourmessage #messages #quotes #gandhi #mahatmagandhi #statues #statueart #dcart #dcstatues #washingtondcart
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Inside the Hirshhorn Museum’s curved corridors, a breathtaking swirl of color and texture transforms an ordinary white wall into a dynamic, sculptural tapestry. Layers upon layers of paint and mixed media slice through the space like the strata of an ancient canyon, revealing a vibrant spectrum: crimson reds, sunlit yellows, oceanic blues, and earthy browns all colliding in a rhythmic cacophony.
This installation—part painting, part sculpture—embodies the tension between art as surface and art as environment. The artist (Mark Bradford, known for his large-scale, collage-like work) uses found materials, paper, and rope embedded into thick acrylic layers to create these textured topographies that recall maps, urban streetscapes, or the scars of time itself. The resulting effect invites viewers to walk alongside, lean in, and get lost in the cracks and crevices, discovering hidden details that emerge with every step.
The visual complexity of the installation mirrors Washington, D.C.’s own layered history. The museum’s circular architecture frames this contemporary piece, giving it a sense of perpetual motion—like a time capsule caught in flux. The experience is both intimate and monumental, pulling you in with its tactile presence while simultaneously enveloping you in the grand narrative of modern art.
A few museum visitors drift along the edge of the installation, their silhouettes dwarfed by the scale of the work. Their presence emphasizes the human dimension within this sea of materiality. The interplay of shadows and light from the overhead spotlights accentuates the tactile richness, transforming the wall into a living, breathing surface.
For visitors, this installation is more than a viewing experience—it’s a sensory journey that fuses color, history, and place, embodying the pulse of the Hirshhorn Museum and contemporary art in the nation’s capital.
Medium: Collage on paper
Size: 12"x16"
Copyright © by Megan Coyle
This collage was made entirely from magazine strips with a technique I call "painting with paper." I cut the paper into different shapes and layer them in such a way that they look almost like the brushstrokes in a painting.
If you have any questions about this piece, feel free to send me a message or leave a comment.
girl hold my purse. Goddess Diana and her stag, graciously lent by @metmuseum for "Power and Pathos: Bronze Sculpture of the Hellenistic Period", showing at the @ngadc until March. #ancient #ancientart #greekart #romanart #ancientgreece #ancientrome #hellenistic #bronze #sculpture #statue #nude #athlete #athletic #body #gayart #antiquity #antiquities #ArtWatchers_united #ihavethisthingwithmuseumpics #arthistory #artnerd #exhibition #dcart #masterpiece #ancienthistory #powerandpathos
Captured inside the Hirshhorn Museum and Sculpture Garden in Washington, DC, this photo features a kinetic sculpture by Brazilian twin artists OSGEMEOS, known for their vividly surreal and deeply narrative visual language. The piece is part of their immersive installation, where motion, music, and light bring a sculptural tableau to life in a hypnotic loop of storytelling. Stylized yellow figures with bowl-cut hair dance, tumble, and gesticulate around a central axis, surrounding what appears to be a cake topped with candles — an eerie, dreamlike birthday ritual charged with both joy and distortion.
OSGEMEOS (Otávio and Gustavo Pandolfo) are internationally celebrated for their unique fusion of street art, folklore, and animation, often drawing from Brazilian cultural memory, hip-hop, and their own subconscious. Here, they breathe life into sculpture using a rotating zoetrope-like mechanism. As the lights strobe, the static figures blur into animation, evoking childlike wonder while also unsettling the viewer with uncanny repetition and surreal expression.
This work blends old-world mechanical illusion with contemporary street aesthetics, offering a layered commentary on celebration, identity, and the passage of time. It’s a highlight of the Hirshhorn’s exploration of motion and memory in modern art and a powerful example of how OSGEMEOS bridge high art and street sensibilities.
Visitors to this exhibit are often seen lingering, mesmerized by the transformation of still forms into narrative spectacle — a hallmark of the duo’s ability to enchant and provoke simultaneously. Whether encountered in a museum or on a São Paulo wall, OSGEMEOS’s figures invite viewers to step into a fantastical realm where movement, rhythm, and symbolism take center stage.
A whimsical night scene unfolds in this towering mural captured at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., a beloved institution on the National Mall known for its commitment to bold, contemporary art. The artwork features a surreal narrative: a yellow-faced, pajama-clad figure reclining across two wooden boats adrift in a vivid teal sea. In one hand, the figure cradles a tiny, bright house, while a tilted lighthouse anchors the composition in the lower right. Above, a crescent moon with a dreamy, humanlike face gazes down through misty clouds, evoking both watchfulness and serenity. The moon’s expression adds emotional depth, suggesting themes of longing, guardianship, or the subconscious mind.
Rendered in richly saturated hues and gestural brushwork, the piece bridges reality and fantasy—key traits of the warchitecture movement, a style merging fantastical architecture and dreamlike scenes, often incorporating emotional storytelling and vibrant, mural-scale visuals. The ocean’s textured brushstrokes ripple with movement, heightening the sense of drifting and vulnerability. This floating dreamscape—possibly a metaphor for emotional journeying or cultural displacement—offers a moment of introspection, balancing playfulness with melancholy.
Like much of the Hirshhorn’s public-facing collection, the mural invites dialogue between viewer and space, blurring the boundaries between waking life and imagination. It's a celebration of artistic freedom that resonates especially strongly in a museum renowned for championing experimental voices.
A gleaming testament to modern minimalism, this captivating gold sculpture stands tall on a wooden pedestal at the Hirshhorn Museum in Washington, D.C. The piece, with its reflective surface and geometric forms, embodies both elegance and simplicity, creating a powerful dialogue between materials and shapes. At first glance, it might appear as a simple cylindrical form split into angular segments, but a closer inspection reveals a precise and balanced composition that plays with reflections and light, drawing the eye to every angle.
Set atop a sturdy wooden pedestal crafted from rich, warm-toned wood, the sculpture gains an organic contrast. The pedestal itself is a work of art—a geometric base rising to a square platform, topped by a perfectly cut cross-section of the tree trunk, complete with visible growth rings and natural cracks. This juxtaposition between the organic texture of the wood and the polished, reflective gold surface above highlights the artist’s exploration of nature, craft, and industrial materials.
The clean lines and minimalist design echo the broader aesthetic of the Hirshhorn’s modern art collection, where form and material often take center stage. The museum’s subtle white walls and ambient lighting cast gentle shadows that enhance the sculpture’s dimensionality. Even in its simplicity, this piece feels dynamic—its polished surface captures hints of the surrounding space, blurring the line between the artwork and the viewer’s reflection.
For visitors, this sculpture offers a moment of contemplation: a study in contrasts, materials, and craftsmanship. It invites the viewer to consider the relationship between nature and human-made forms, and how the two can coexist beautifully in the language of modern art.
Piano Player #art #artwork #cityart #dcart #washingtondcart #pianoplayer #piano
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lorigraml: 👏👏👏 great page!. 🙌🙌