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on view JUNE 24 - OCTOBER 1, 2017


Arlington Arts Center (AAC) is a 501(c)(3) nonprofit contemporary visual arts center dedicated to presenting and supporting new work by regional artists in the MidAtlantic states. Through exhibitions, educational programs, and subsidized studio spaces, AAC serves as a bridge between artists and the public. The goal is to increase awareness, appreciation of, and involvement in, the visual arts in Arlington County, VA and the region. AAC was established in 1974 and has been housed since 1976 in the historic Maury School. Our facility includes nine exhibition galleries, working studios for twelve artists, and three classrooms. At 17,000 square feet, we are one of the largest non-federal venues for contemporary art in the Washington, DC metropolitan area.

Front & Inside Cover: Alyssa Dennis, Greenhouse


JUNE 24 - OCTOBER 1, 2017





About the Exhibition “Art is the queen of all sciences communicating knowledge to all the generations of the world.” – Leonardo da Vinci Art does not exist in a vacuum. It has the potential to play a vital role in shaping our understanding of other disciplines and functions as both a connector and a bridge. INTERDISCIPLINARIUM emerged out of an investigation into the worlds that artists build within their own practices, and then expanded to explore how those worlds extend outside of the arts to engage with myriad disciplines. The theoretical frameworks, experiences, and academic backgrounds of these ten artists incorporate botany, dance, architecture, technology, music, literature, history, urban agriculture, film, and medicine. Through a diverse range of media – textiles, photography, and sculpture – the first group of artists traverse history, literature, and music. Stephen Towns’ narrative quilts delve into the history of the slave rebellion led by Nat Turner. The artist gleans inspiration from various historical accounts of the event, while injecting personal narratives and art historical references into the work. Will Connally’s interest in literature spurred the creation of his own fiction, which includes photographs, timelines, a book, and a family tree. The project offers a glimpse into a world Connally has conjured, but also points to the frailty and flexibility of our own narratives and histories. Hailing from Baltimore’s experimental sound and music community, Neil Feather assembles a playfully sordid and sonic landscape out of bicycle wheels, bocce balls, and record players. Three of the artists in the exhibition take on the sciences through works related to botany, urban agriculture, and natural history. Miriam Simun’s collaboration with scientists and botanists led to the creation of a series of photographs, videos, a performance, and even a wearable device designed to allow humans to experience the previously imperceptible scent of the Agalinis acuta flower. Simun’s Agalinis Dreams examines the poetics and politics of this federally protected plant species. Beverly Ress’ works on paper are delicately drawn and then dissected, the subject matter of each emerging from her research within the collections of natural history and medical museums. Alyssa Dennis’ practice references architecture and design, then upends those practices, deconstructing and forming more modular and malleable built spaces. The artist’s dense and textured drawings are influenced by the natural world and the wild edibles and medicinal plants that exist within our built, urban environments. 2 INTERDISCIPLINARIUM · Arlington Arts Center

Agalinis Dreams

Works throughout the exhibition filter social concerns and political events through an interdisciplinary lens. Drawing on a foundation of dance and an intense interest in the body and movement, Lorenzo Cardim probes the politics and policing of bodies of color. His latest work, Waiting Room for Your Last Meal, scrutinizes and processes the tragic police shooting of 28 year-old Alex Nieto in San Francisco’s Bernal Heights neighborhood through video, live performance, and installation. Filmmaker turned visual artist, Catherine Pancake, draws upon grassroots activism, personal narratives, and the relationship between capitalism and environmentalism in two different video works that cast a critical gaze upon the natural gas industry and the clear-cutting of a forest on her family’s land in West Virginia. INTERDISCIPLINARIUM spills outside to the grounds of AAC with two projects. Leveraging his background in architecture and design, Salvatore Pirrone’s playful Megaphone functions simultaneously as an oversized trumpet, ear piece, and viewing device, amplifying each participant’s interaction with the work. Brian Davis deploys new technologies in Float/Fall, a project that includes a one-night only projection on a helium-filled weather balloon on June 24 and a more permanent mobile app using augmented reality that will last the duration of the exhibition. This group of artists highlights the unique tendency for artistic practices to both aggregate and seep into a variety of disciplines. It also challenges certain assumptions about the arts and the artistic process, and positions Arlington Arts Center as a space for creative action that extends beyond the narrative of art for art’s sake. – Karyn Miller, Curator & Director of Exhibitions

About the Artist LORENZO CARDIM is a Brazilian visual artist and dancer. He received his BFA in Fine Arts from

the Corcoran College of Art and Design (DC) and his MFA from the California College of the Arts in San Francisco (CA) in 2016. His work has been featured nationally and internationally in museums, galleries, universities, and film festivals in San Francisco, Oakland, Washington, DC, New York, and Milan, Italy. At the core of Cardim’s multi-media practice is a commitment to making work that questions social and political structures. His work explores themes of social injustice through gestural representations while drawing on references to Brazilian Neo-Concrete Art, Post-Minimalism, and experimental dance.

explores social injustice through experimental dance Portrait by Jennifer Klecker


Waiting Room for Your Last Meal

About the Work On the evening of March 21, 2014, Alex Nieto was shot to death 15 times. The movements and ideas for Lorenzo Cardim’s work are extracted from the chain of events connected to Nieto’s death. Waiting Room for Your Last Meal is a sculpture and video installation activated by a live performance by the artist. In this piece, Cardim explores how social constructs impact the way we experience

images of the contemporary body. He inquires why certain bodies, especially those which are unconventional, exotic, or “othered,” are affected by societal norms in ways that make them absent, hyper-visible, or vulnerable. Cardim further investigates this idea by presenting the sculptural components of the work without the performance, emphasizing concepts of invisibility and absence.


purposefully disguises narrative elements, encouraging viewers to imagine untold pieces About the Artist WILL CONNALLY is a photo-based artist whose practice encompasses fiction writing, set design,

performance, and installation. In addition to drawing inspiration from personal narratives, his original work is influenced by literary sources, film noir, and amateur theater productions.

Connally received his BFA from Virginia Commonwealth University and his MFA in Photography from Cranbrook Academy of Art (MI). He was a resident at Banff Centre for the Arts in Alberta, Canada, and was awarded a Professional Fellowship from The Virginia Museum of Fine Arts. He has shown work in exhibitions across the United States, has artwork in the permanent collection of Cranbrook Art Museum, and is an adjunct instructor at Virginia Commonwealth University.


Tune Alan and Gorov in Vernon’s Break Room

About the Work Will Connally’s photographs are based on the artist’s imagined narrative that emerges from the fictional Lake Elster, a rural northern lake. To stage these photographs, Connally has developed a series of short stories, sketches, a family tree, and a detailed timeline spanning 370 years. The works purposefully disguise narrative elements, encouraging viewers to imagine the untold pieces. Like short stories in a collection, each of Connally’s photographs is a portrait of a

Lake Elster resident, as recounted by the unreliable narrator, Wade Lagarde. Specific figures from Lagarde’s memory inhabit these scenes and can be traced throughout the series. Significant objects in the photographs stand as attributes of characters who are often absent from the images. The inclusion of flat, stage-like painted elements heightens the fictional nature of the narrative and calls into question the veracity of the photographs.


About the Artist BRIAN DAVIS lives and works in Northern

Virginia. Although born in Ft. Walton Beach, Florida, Davis was raised in Guam and South Carolina. His artistic practice is varied and experimental, and includes elements of public sculpture, multimedia installation, and virtual environments. Davis’ work and research uses cross-disciplinary techniques and practices to explore the connections between art, space, and the viewer. He has exhibited widely on the East Coast and was recently awarded a Professional Fellowship with The Virginia Museum of Fine Arts.


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cross-disciplinary techniques and practices explore the connections between art, space, and the viewer


About the Work Float/Fall is a balancing act between opposing forces. This work is constructed from a video projector tethered to a helium-filled weather balloon. It explores light, gravity, momentum, stasis, and the liminal area between each of those forces. In the work, a balloon floats above the viewer, reflecting scenes from a


waking dream. Like this period of “threshold consciousness,� the actual event is brief, and only fragments of memory remain. The installation will only be present for a short time, but an afterimage will be available virtually for the duration of the exhibition through an artist-designed mobile app.

About the Artist ALYSSA DENNIS is an interdisciplinary artist and environmental activist whose work explores

urban ecologies via architecture and medicinal plants. She has researched and worked in various alternative building and construction methods since 2005, such as straw bale and adobe construction, living roof installation, and historic restoration. When she isn’t in the studio making architectural drawings and sculpture she initiates grassroots community work, including her newest environmental advocacy project, Common Knowledge. Common Knowledge advocates for an increased awareness of our natural environment while promoting the idea that plant knowledge should once again exist as common knowledge.

creating systems that are infinitely changeable and transformative


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Schematic Digestion

About the Work Alyssa Dennis’ work explores architecture and constructed spaces as an ecosystem — a multi-functional environment where nothing operates independently. Dennis’ practice includes drawing, photography, model making, sculpture, and installation. While the processes are derivative of an architectural practice, the purpose is not to visualize an end result or a fixed plan. Rather, the work deconstructs architecture by creating speculative, modular systems that are infinitely changeable and transformative.


Her project Common Knowledge promotes education around wild edible and medicinal plants in the urban landscape through a series of plant illustrations accessed through interactive learning tools. It is a cultural platform for sharing information and engaging with children and adults alike. This project is rooted in “green” philosophies, alternative pedagogies, nutritional activism, and the principles of a gift economy.

About the Artist NEIL FEATHER is internationally known as an inventor of experimental musical instruments.

The instruments combine strings, springs, magnets, motors, flywheels, electromagnetic pickups, bicycles, bowling balls, and other matter to explore the sounds of unlikely physical events. He has performed hundreds of concerts across the United States, Canada, and New Zealand, and has created numerous site-specific sound installations. Neil Feather is a founding member of the Red Room Collective and the High Zero Foundation, a group committed to the presentation of experimental and improvised music. His work was included in Art or Sound at the 2014 Venice Biennale, and in 2014 he won the Sondheim Art Prize and the Trawick Contemporary Art Prize. He is a 2016 John Simon Guggenheim Memorial Foundation Fellow.


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Pilot I

About the Work Neil Feather conjures intricate musical sculptures from found and collaged objects. His Erroneous Astrophysics is a mechanical musical score of ungainly and absurd celestial models that imitate the wobble of our planets – each turn of the ball, different than the last. In this work, physics provides humor, which comes from the beauty of imperfection. This orderly vision becomes more interesting as we find that it is filled with black holes and an uncertainty reflected on an atomic scale.


a mechanical musical score of absurd celestial models that imitate the wobble of our planets

About the Artist CATHERINE PANCAKE is an award-winning

visual, moving image, and sound artist with an MFA from the School of the Art Institute of Chicago (IL). Her work has been presented nationally and internationally in venues including the Museum of Modern Art (NY), Royal Ontario Museum, and The Baltimore Museum of Art (MD). She is an Assistant Professor at Temple University in the Film and Media Arts Program. Pancake’s recent exhibition at the Vox Populi Gallery (PA), Bloodland, was selected as an International Critic’s Pick by Artforum. Her current work is supported by the Leeway Foundation, Temple University (PA), and the Wexner Center for the Arts (OH).

traces strategies and interventions for coping with ecological trauma


Still from BloodlandV3

About the Work Catherine Pancake’s video and sound work from her series, Bloodland, traces strategies and interventions for coping with ecological trauma. BloodlandV3 is a video essay addressing the use of citizen videography and the amateur investigation of fracking sites in Pennsylvania. Nature is Hungry presents the artist’s brother, Sam Pancake, improvising

performances on a farm in West Virginia. He plays the role of two different women struggling with the decision to destroy a forest on treasured family land. The works find their roots in Pancake’s background as a documentary filmmaker and offer a poetic take on the range of personal and political issues surrounding our environment.


About the Artist SALVATORE PIRRONE is a sculptor who engages with themes of work, play, and identity.

He explores issues of phenomenology, materiality, and our relationship to physical and psychological environments. Pirrone has shown widely throughout the US, most recently at the Sandy Spring Museum (MD) and the Intersections Festival (DC). He received his Master of Architecture degree from the University of Florida and his MFA from Parsons New School of Design (NY). He has been a studio critic at Florida Gulf Coast University, Corcoran College of Art and Design (DC), and George Washington University (DC). Currently, he is a Fellow Mentor with Hamiltonian Gallery (DC), and is Assistant Professor of Interior Design at Marymount University (VA) where he teaches drawing and design.

operates at the intersection of sound and vision


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About the Work Megaphone operates at the intersection of sound and vision. In this work, Salvatore Pirrone looks to build a dialogue between the scale of the expansive outdoors and the intimacy of one or two people. The sculpture is a wooden, voice-powered projector resting on the ground at its widest end, and propped up on a series of tripods toward the speaking aperture. The user is encouraged to speak into the small end of the cone to cast his

or her voice out into the landscape or listen through the mouthpiece, turning the object into an oversized ear trumpet. The work also functions as a viewing device, or as a refuge from the elements. Megaphone intertwines elements of perception, scale, intimacy, and the natural world. It is used to connect with our immediate surroundings and to one another through a playful interchange of experiences, however large or small.


drawings that examine and rework scientific and mathematical subjects About the Artist BEVERLY RESS works primarily with drawings that examine and rework scientific and

mathematical subjects. Her work has been included in national invitational drawing exhibits at the Weatherspoon Art Museum (NC) and the Arkansas Arts Center (AR). Recent solo shows include Form and Line at The Simons Center for Geometry and Physics at Stony Brook University (NY) and The World is a Narrow Bridge at the Katzen Arts Center (DC). In addition to the National Museum of Health and Medicine (MD), she was a resident artist at the National Museum of Natural History (DC), George Washington University (DC), and the Mutter Museum in Philadelphia (PA). Ress received her AB from Earlham College (IN), and her MFA in sculpture from the Maryland Institute College of Art (MD). She has taught courses at Georgetown University (DC), The Catholic University of America (DC), and George Mason University (VA).


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About the Work Beverly Ress’ artistic practice is grounded in her research within the collections of natural history and science museums. Her works explore the ways in which ideas and scientific imagery intersect with representational drawings to create a contemporary form of memento mori, a reminder of mortality and the fragility of life. Ress begins her work by drawing an object with a high degree of realism. She then


dissects and rearranges her original drawing into a completely new image. Once Ress has drawn something as precisely as possible, she disassembles it to explore greater aesthetic possibilities, “I take a chance on ruining it by laser-cutting it, using a vector file derived from a photo of deep space from the NASA website, Arabic geometry, or the mathematics of Penrose tiling.”

About the Artist MIRIAM SIMUN is a research-based and interdisciplinary artist whose practice intersects

ecology, technology, and the body.

She has exhibited at the New Museum (NY), Museum of Arts and Design Biennial (NY), DeutscheBank Kunsthalle (Berlin), The Contemporary (MD), Ronald Feldman Fine Arts (NY), Museum of Fine Arts (Croatia), Bemis Center for Contemporary Arts (NE), XI Center for Contemporary Art (China), and the Beall Center for Art + Technology (CA). She has received awards from Creative Capital, Robert Rauschenberg Foundation, Joan Mitchell Foundation, Foundation for Contemporary Arts, as well as Santa Fe Art Institute’s 2015 Food Justice Residency (NM), and the 2016 Artist Residency with OMI International Arts Center (NY). Her work has been recognized internationally in publications including BBC, The New York Times, The New Yorker, CBC, MTV, Forbes, Art21 and ARTNews. Simun received a BS from the London School of Economics and Political Science, an MPS from NYU’s Interactive Telecommunications Program, and is currently a research assistant at the MIT Media Lab.

a multi-sensory investigation into notions of preservation and an ode to one miniscule weed


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Always into Forever 6

About the Work Agalinis Dreams is a series of works centered around the Agalinis acuta, the only federally protected endangered plant species in New York State. The Agalinis acuta is a pink flower that blooms one day each year. It is also considered a weed, a parasite, a species on the verge of extinction, and a legal fiction. In 2008, genetic testing revealed that the species did not exist at all, and its discovery as a new species is considered a taxonomic error. In 2014, Simun enlisted the participation of botanists, land managers, chemists, and


perfumers to produce Agalinis Dreams, a multi-sensory investigation into notions of preservation and an ode to one minuscule weed. In addition to video, sculpture, and print works, Agalinis Dreams includes the Agalinis acuta’s scent. Although this scent is imperceptible to humans in the wild, Simun collaborated with chemists and perfumers to capture the smell and recreate it for her audience. This scent is released in a ritual performance, an homage to one species on the verge of extinction.

About the Artist Currently based in Baltimore, MD, mixedmedia artist STEPHEN TOWNS was born in Charleston, SC. Towns primarily works in oil, acrylic, and fiber, drawing much of his visual inspiration from medieval altarpieces, impressionist paintings, and wax cloth prints. His work has been exhibited at Galerie Myrtis (MD), Gallery CA (MD), Platform Gallery (MD), Hood College (MD), and is in the collection of the City of Charleston, SC. Most recently, Towns was honored as the inaugural recipient of the 2016 Municipal Art Society of Baltimore City Artist Travel Prize. He also received the Greater Baltimore Cultural Alliance Rubys Artist Grant in 2015.


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explores how violence is processed through escapism, religion and myth


Whoso Keepeth the Commandment Shall Feel No Evil Thing

About the Work Stephen Towns’ work is rooted in his experience growing up in the Deep South. His work is in direct response to issues plaguing African American culture such as loss of ancestral roots, slavery, class, education, skin tone, and religion. He wants to create beauty from the hardships in life. The portraits Towns creates are not only glimpses of the subjects; they are also a reflection of the artist

and mirror his struggle to attain a sense of self-knowledge, self-worth, and spirituality. The work in INTERDISCIPLINARIUM is based upon his research on the 1831 slave rebellion led by Nat Turner. Using the historic and mythological chronicles of Turner’s rebellion, Towns explores how violence is processed through escapism, religion, and myths.


In the Bus 2 (detail)

Wyatt Resident Artists Gallery | Memoryscape

About the Work Jung Min Park creates memorable scenes using observations and personal experiences of cities and other sites around her. Her memories make unique alternative narratives, characters, and perspectives. Through distinct motifs and mixed media, her works balance organic and geometric sensibilities, which present both the natural and artificial aspects of a city.

Park’s paintings are multi-faceted sculptural images that include fabric, paper, and embroidery. Through collage and the strategic use of positive and negative space, she explores the boundaries between reality and illusion as well as consciousness and unconsciousness. In her practice, she creates a hybrid of landscapes, seeking to bring an aesthetic sensibility to these enigmatic themes.


memories make unique alternative narratives, characters, and perspectives About the Artist JUNG MIN PARK is a resident artist at Arlington Arts Center (VA). Her works have been selected

for solo and group exhibitions nationally and internationally including Annapolis Maritime Museum (MD), DC Arts Center (DC), Greater Reston Arts Center (VA), Hillyer Art Space (DC), The Painting Center (NY), and Gallery 175 in Seoul, Korea. She won first prize from the Water Works show at Maryland Federation of Art and two awards from Korea Modern Cultural Art Association. Park has received a fellowship from The Virginia Center for the Creative Arts and a grant from the Korean Ministry of Cultures, Sports, and Tourism. She earned her MFA from Pratt Institute (NY) and two BFA’s from the School of The Art Institute of Chicago (IL) and Korea National University of Arts.



About the Artist

sustaining tradition, memory, and an intense love for their hometowns


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CAREY AVERBOOK is a photographer,

filmmaker, and multimedia producer. Her practice is heavily rooted in anthropology, which she studied at the University of North Carolina-Chapel Hill as an undergraduate. She received her MA in New Media Photojournalism from George Washington University’s Corcoran School of Arts and Design (DC) in 2017. Averbook splits her time between Bolivia and the DC area. Her current work focuses on social, cultural, and environmental issues across the Americas.


Jenkins Community Gallery | Only the Bridge Matters Now

About the Work Only the Bridge Matters Now is a multimedia documentary web and book project that presents the metaphorical bridge linking the Bolivian communities of Northern Virginia to their region of origin, the Valle Alto. It is said that Valle AlteĂąos residing in Virginia do not migrate, rather they bring everything with them from Bolivia to Virginia so they are able to continue their lives almost exactly as if they never left their native country. Valle AlteĂąos perceive the whole planet as the Pachamama (Mother Earth), or, all land as one. Whether in Bolivia or Virginia, it is still part of Pachamama. By sustaining tradition, memory, and an immense love for their hometowns, individuals keep families and communities united, and thereby create a multidimensional bridge between the Valle Alto, Bolivia and Virginia.


Additional Programming INTERDISCIPLINARIUM Community Program & Gallery Talk Sept 9, 1 - 3 pm Exhibitions at Arlington Arts Center

INTERDISCIPLINARIUM | Main & Lower Level Galleries June 24 - October 1, 2017 Jung Min Park: Memoryscape | Wyatt Resident Artists Gallery

June 24 - October 1, 2017

Carey Averbook: Only the Bridge Matters Now | Jenkins Community Gallery

June 24 - September 3, 2017

Camps & Classes Summer 2017 Camps for Kids & Teens

June 26 – September 1 Camps meet weekly with complimentary before and aftercare options available Adult Classes

July 11 – August 30 Dates and times vary Art classes at AAC are designed to engage students from start to finish! Instructors begin with a lesson about a contemporary artist, idea, or technique. Together with their students, they explore history, sociology, and critical thinking through the context of contemporary visual art. Finally, students take what they’ve learned and apply it through creative projects and lessons that strengthen and reinforce fundamental art skills like drawing, observation, and decision-making. Register online at

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aac Hours & Location Arlington Arts Center is open Wednesday - Sunday, 12 - 5 pm and by appointment. Metro: Silver & Orange Lines: Virginia Square 3550 Wilson Boulevard Arlington, VA 22201 703.248.6800 For more info about AAC visit:


Sponsors & Partners Our programs are made possible through the generous support of the Virginia Commission for the Arts/NEA, Arlington County through the Arlington Cultural Affairs division of Arlington Economic Development, the Arlington Commission for the Arts, Arlington Public Art, The Morris & Gwendolyn Cafritz Foundation, The Washington Forrest Foundation, The Arlington Community Foundation, Founders of the Fund Your Artist Vision, and AAC members. Salvatore Pirrone’s Megaphone is funded in part by Arlington Arts.

Arlington Arts Center INTERDISCIPLINARIUM catalog  
Arlington Arts Center INTERDISCIPLINARIUM catalog