19-20 mobile arts program season: ex(change)

Exhibits, pop-ups and performances centered around collaborations which exemplify cross-cultural understanding, and artists who are actively redefining personal and socio-political narratives.

CulturalDC’s Mobile Arts Program breaks down the barriers to art often found in traditional presenting venues. We offer the ideal space for nationally and regionally prominent artists to engage with audiences in new, exciting ways. The Mobile Arts offers an artistic dialogue on national, local and grassroots levels. Alongside opportunities for workshops, lectures and community engagement, The Mobile Arts demonstrate the ability of innovative, provoking art to cut across cultural, social and economic boundaries. By offering residents of the nation’s capital direct access to unique creative experiences, CulturalDC is determined to keep high-quality art where it belongs—at the center of community.

 
Graphics by Donald Ely

Graphics by Donald Ely


time capsule by wickerham & lomax

Pop-Up Exhibit running November 2019-January 2020

Baltimore-based duo’s project features 3 parts: Spootique (a pop-up event focused on the changing body in the digital landscape), Souf Care & Souf Defense (a published poetry collection examining what it means to be loved, sensitive and curious), and BLOOP (a ‘high end lifestyle platform’ hosting the online versions of the full project). The project takes the ontological aspects of an individual and puts them in separate parts and are investigated through forms we encounter in our everyday.

BIOGRAPHY

Wickerham & Lomax is the collaborative name of Baltimore-based artists Daniel Wickerham (b. Columbus, Ohio, 1986) and Malcolm Lomax (b. Abbeville, South Carolina, 1986). Their practice is based on the accelerated exchange of frivolous information, gossip, and codified language that crystallizes into accessible forms in hopes of giving dignity to that exchange.

Formerly known as DUOX, the artists have been working together since 2009 across diverse media, curatorial platforms, and institutional contexts, creating a body of work at once context-specific and broadly engaged with networked virtualities. They continue to develop a digital narrative franchise entitled BOY’Dega, which considers dissolving hierarchies between, author, character, actor, and fan. Wickerham & Lomax are particularly invested in questions of identity and the body, exploring the impact of digital technologies and social spaces on the formation of subjectivities and speculative corporealities. They have describe their practice as being full of “fanboy hissy fits.”

Recent exhibitions by Wickerham & Lomax include The Writers Room at the Reginald F. Lewis Museum, Baltimore, MD (2018); DUOX4Odell’s: You’ll Know If You Belong, commissioned by Neighborhood Lights, Light City, Baltimore (2017); Uncool at Terrault Contemporary, Baltimore (2016); Take Karaoke: A Proposition for Performance Art at Brown University, Providence, RI (2015); the Sondheim Prize Finalist Exhibition, Baltimore (2015); Girth Proof at Dem Passwords, Los Angeles (2015); the premiere of Encore in the AFTALYFE at the Artists Space booth, Frieze NY 2014; and BOY’Dega: Edited4Syndication for New Museum’s First Look series; DUOX4Larkin, Artists Space, New York (2012).

Wickerham & Lomax are the 2015 winners of the $25,000 Janet and Walter Sondheim Prize.

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RENDITION BY ZOË CHARLTON

MOBILE ART GALLERY EXHIBIT OPENING JANUARY 2020

DC and Baltimore-based Charlton’s expanded practice includes drawing, collage, animation, sculpture, and installation. In Rendition, she “mass produces” the collectable African masks and statues that she references in her drawings and collages. Rendition engages cultural identity, race, commodity, and cultural tokenism, with a critical, yet humorous approach.

BIOGRAPHY

Zoë Charlton received her MFA degree from the University of Texas at Austin and her BFA from Florida State University in painting and drawing. Charlton has participated in residencies at the Skowhegan School of Painting and at The Creative Alliance in Baltimore, MD. Her work has been included in national and international group exhibitions including the Contemporary Art Museum (Houston, TX), the Studio Museum of Harlem (NYC, NY), the Zacheta National Gallery of Art (Warsaw, Poland), Haas and Fischer Gallery (Zurich, Switzerland), Clementine Gallery (NYC, NY) and Wendy Cooper Gallery (Chicago, IL). Her work has been reviewed in ARTnews and Art in America. Previous experiences range from being an animator for Flat Black Films in Austin, Texas to teaching positions at Missouri State University (MO) and Southwestern University (TX). She is an Associate Professor of Art at American University in Washington, DC.

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OVERBOARD BY ANDY YODER

MOBILE ART GALLERY EXHIBIT OPENING SPRING 2020

“One of the main goals for Overboard is to have the installation draw in as wide an audience as possible. I want to make something that’s as unconventional, creative and lively as the use of a repurposed shipping container for a mobile exhibition space,” says Andy Yoder.

In 1990, five shipping containers washed off the ship Hansa Carrier during a tropical storm. Inside were 80,000 pairs of Nike sneakers. Because they float for up to ten years, oceanographer Curtis Ebbesmeyer was able to create a network of beachcombers to track the sneakers as they washed ashore along the coasts of Oregon and Washington. In what became known as “The Great Shoe Spill of 1990”, he used the data to monitor ocean currents, while the beachcombers used the network to match shoes for resale. Andy Yoder’s installation uses this incident, along with the subculture of sneakerhead collectors, to bring attention to the impact of consumer culture on the planet’s environment.

BIOGRAPHY

Andy Yoder is a graduate of the Cleveland Institute of Art and attended the Skowhegan School of Painting and Sculpture in Maine. Yoder uses domestic objects as the common denominators of our personal environment. Altering them is a way of questioning the attitudes, fears and unwritten rules which have formed that environment and our behavior within it.

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A ROOTED ERRANTRY: OBSERVABLE UNIVERSE BY ELLINGTON ROBINSON

POP-UP EXHIBIT OPENING SUMMER 2020

“I’m looking forward to working with CulturalDC and having a platform to explore dynamic conversations via a multi-media experience about the African Diaspora through historical, political, and environmental lenses,” says Robinson.

Based in DC and the Virgin Islands, Robinson presents a body of work that observes the African Diaspora through cultural, economical, historical, political, and environmental lenses. Ellington explores how these entities develop our consciousness by way of layering several materials in the creative process—forming maps of invented archipelagos, galaxies and topographical mountain ranges.

ARTIST STATEMENT

This work is exploring the idea of how economics and culture are used to create political containers that we call states and countries. The world map indicates the constant division of these territories. Simultaneously, the earth’s tectonic plates are shifting and effecting continental forms. Magma is oozing at the bottom of the oceans and forming archipelagos; the Coriolis Effect happens as the earth spins; the gravitation of the sun and moon pull on the Earth and her oceans, causing tides; the Earth’s magnetic forces project from the North Pole and furl into the South. All of these gargantuan and powerful forces of our planet are minuscule to the universe at large, yet our matter shares the same elements as the celestial bodies in our solar system, as a result of the Big Bang and Supernovas. Supreme Magnetic is the consciousness that can stretch through the iron-nickel core of the Earth and swim through the pelagic zones of the oceans and soar across the Exosphere. So why are geographical divisions necessary? Why Racism, Imperialism, and Classism? I’m still in search of these answers by collage, found objects, and paint.

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