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Daniya | DC Art & Hidden Gems

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Looking at art, curious hidden places, and all that makes the DC area so vibrant.
📍DC, VA, MD and beyond
Personal account, opinions are mine alone.

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More from @hirshhorn’s refresh of their Revolutions: Art from the Hirshhorn Collection, 1860–1960 — turbulent, vibrant works from vibrant, turbulent years, with contemporary voices weaved in.

1. New addition: Minotaur-Janus (2024) by @thomas_houseago_studio_ — plaster, redwood, hemp, rebar, charcoal, and pastel, formed with a chainsaw

2-3. My favorite in this exhibit: Lipstick, Lip Gloss, Hickeys Too (2022) by @flora_yukhnovich

4. Another favorite — so glad she’s still on view: Nude among Flowers (before 1954) by Haitian artist Rigaud Benoit

5-6. Mis cuatro gracias (Brendan, Camilo, Carlos, Jorge) (2018) by @alizanisenbaum, who discovered her interest in portraiture while working at an organization supporting immigrants in NYC. She met the people pictured in her weekly salsa group. Alice Neel and Ben Shahn in the background.

7. Study for Portrait V (1953) by Francis Bacon

8. Pictograph (1949) by Adolph Gottlieb

9. Hoodlum (2000-01) by @aujourdhuirose

10-11. The Attraction of Pink (1945) by Ukrainian-born American Abstract Expressionist who’s new to me: Janet Sobel (1894-1968). She pioneered the drip painting technique and influenced Jackson Pollock — his 1949 work, Number 3, 1949: Tiger, hangs next to her. She began her career at 45 in 1938. How about an exhibit of her work?

12. The Nose (1947/revised 1949/cast c. 1960-1965) by Alberto Giacometti

13. Nun with Staffordshire Terrier (1961) by Joan Brown

14. Siren (1966) by Lee Krasner

15. Bird and Lava 04 (2021) by @torkwasedyson, bird flight and lava flows as metaphors for Black liberation

16. Black Wall (1964) by Louise Nevelson (1899-1988) — I didn’t know that she was born in Kyiv

17. Fire 4: This Time Athens (2023) by Rick Lowe

18. Untitled (Roma) (1959/cast 1990) by Cy Twombly

19. Portrait of Andy Warhol (1982) by @julianschnabelstudio

#hirshhorn #dcart #thingstodoindc #contemporaryart #modernart taken in Hirshhorn Museum and Sculpture Garden by @transplantedtatar

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9 months ago

What a beautiful, beautiful exhibit: “Water’s Edge: The Art of Truman Lowe” at @smithsoniannmai, the first major retrospective of the Hoocąk artist (1944-2019).

I’ve seen a couple of his works before, but seeing it all together is — heart-piercing. See this soon.

1-2. Feather Canoe, ca. 1993 — “If I have a religion, it must be canoeing.” Lowe likened canoeing to being suspended between earth and sky.

3. Ottawa, 1992 — willow branches as the rapids and falls of 3 rivers: the Rideau, Gatineau, and Ottawa.

4-5. Ne Pu Saka (Sand on Water), 1996 — river reshaping the earth and effigy mounds the Indigenous peoples of the Woodland region molded more than a thousand years ago

6. Wána (Cascade), 2002 — the rushing Columbia River, in aluminum

7. Waterfall VIII, 2011 — the last in the willow waterfall series

8-9. The Water Reflections series, late 1990s — Lowe was raised along the Black River in Wisconsin and carried a lifelong fascination with moving water

10. From the Petroglyph Series, inspired by rock art sites Lowe visited in Wisconsin caves and Southwestern canyons (1995)

11. Mnemonic Canoe, 1989

12. Mnemonic, ca. 1985-90, 2013 —so deceptively simple/complex and moving in person. Inspired by prescription sticks used to record botanical and medicinal knowledge.

13. An 1890s prescription stick on the 4th floor in the exhibit Nation to Nation—belonging to a Potawatomi doctor. The Potawatomi, who were forced to move, lost knowledge of medicinal plants because so few grew on the eastern Plains.

14. A major influence on Lowe’s work: his parents, who weaved finely crafted black ash baskets; his father taught him about woodworking.

15. Wach-Nee (Canoe Form), 1996, reworked 1999 — a must-see in person

16. Totem for Henu (First Daughter), 1985, and Totem for Kunu (First Son), 1985, after Lowe’s children

17. Stream II, ca. 1990-91, referencing Lowe’s first art materials as a young child (river rocks)

18. Hoounch II, 1992

19-20. Hoounch III, 1995 , and Untitled (Sauninga) — honoring his mother, a Bear Clan member. Her name, Sauninga or Shining One, a bear illuminated by the sun.

#indigenousartist #nativeamericanartist #dc taken in Smithsonian’s National Museum of the American Indian by @transplantedtatar

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10 months ago

If you are in College Park, stop by the #VanaduArtHouse in Hyattsville. It is an extraordinary place: a 20-year obsession that transformed a suburban lot and 5 cars into cityscapes of faces, recycled metal, mirrors, talismans—the whole place is a barnacled shield, vaguely Victorian-morbid in its sensibilities, extravagantly dense but balanced and deliberate. Its creator, Clarke Bedford, was a conservator at @hirshhorn and began this project with a car he used to commute. All 5 of his cars are fully functional and constantly evolving. If he is at home, Bedford may greet you and invite you to see the house—I hope you get to experience it too. Aidan was delighted by all the details and a friendly black cat that invited ear rubs. In the end, Paul and I left feeling as much wonder as Aidan did. A place of uncommon presence and magic.

@atlasobscura #atlasobscura #hyattsville #hyattsvilleartsdistrict #hyattsvillemd #collegeparkmd #uncommontravel #insearchofquirk #visionaryartist #junkart #foundobjectart #outsiderart #outsiderartist #dadaism #steampunk #igdc #thingstodoindc #districtdreams #mydccool #visionaryart #dcspot #exposeddc #thesecretdc #mytinyatlas #transplantedtatar #longwalksdc #washingtondc #ipulledoverforthis #folkart #roadsideamerica taken in Vanadu Art House by @transplantedtatar

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4 years ago

LOVED this: Abundantia, sculptures by Czech artist Anna Hulačová, @anna.hulacova (b. 1984). These are from the second part of the exhibit at @schirnkunsthalle — Still-life / Still Alive, 2026, and After Bugonia, 2025, concrete figures with honeycomb faces and bellies.

Her bee hives are part of the process: She sets concrete or linden-wood figures inside an empty hive, prompts the colony to swarm, and the bees fill the hollows with honeycomb. Hard invaded by soft, concrete inhabited by wax.

Raised on a farm in 1980s Czechoslovakia, Hulačová looks at industrial agriculture, our severance from nature — and at the women whose labor feeds us, unseen. She chose Abundantia as the title of her show, the Roman goddess of plenty: the cornucopia, but focusing on its unseen workers.

1-5. After Bugonia, 2025, drawing its title from the ancient Greek word for “ox-birth,” the belief that bees were born from the carcasses of bulls, an embodiment of immortality. Dairy workers in rubber boots, smocks, and headscarves caught mid-movement: today’s farmhands, but also the peasant women of Socialist Realism, from the years when collectivization turned small Czech farmers into salaried workers on big state farms.

6-16. Still Life / Still Alive, 2026 — a clinical room of galvanized steel with a conveyor belt of faceless, hybrid women, possibly steered by the bees that have colonized their bodies. At the end, one tries to keep up with a mountain of fruit and vegetables using only a whisk: an echo of both the voluptuous market women of 16th-century painting, and of the low-paid sorters behind every supermarket shelf.

More tomorrow — her futuristic, surreal sculptures of agricultural machinery, mid-evolution (mid-mutation?).

📍 #schirnkunsthalle, part of the Czech Republic’s Guest of Honour program at the @frankfurterbuchmesse. Through January 10, 2027.

#annahulacova #contemporarysculpture #ecofeminism #frankfurtart taken in SCHIRN KUNSTHALLE FRANKFURT by @transplantedtatar

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14 hours ago

More from the breathtaking #FritzScholder at Tower @mmkfrankfurt, American pop art with raw Expressionism — explosive, frenetic brushwork, screaming color palettes, distorted faces to force the viewer to look past comfortable stereotypes, past comfortable histories:

1. Indian with Green Wing, n.d.

2. American Portrait with Owl, ca. 1975, the owl a messenger of death in many Native traditions

3. Indian on Horse, ca. 1970

4. Indian Power, 1972 — immense in person. I remember being transfixed by it at the @denverartmuseum. This became an icon of Native American empowerment and political activism during the Red Power movement in the 1960s-70s, though Scholder himself denied being a “protest painter”

5. Hollywood Indian and Horse No. 2, 1973

6. Mad Indian No. 3, ca. 1970

7-8. Portrait of a Massacred Indian, 1972

9. Another Sioux Chief, 1979

10-11. Massacre in America: Wounded Knee, 1972 — in 1890, slaughter of hundreds of Lakota men, women, and children by the US Army

12. Portrait, 1896, 1976 — painted during the US Bicentennial celebrations; usually interpreted as General Custer; 1896, the time of US transition from active military slaughter to full-scale, forced assimilation of Native Americans, including through boarding schools

13. Indian Dying in Nebraska, ca. 1972

14. Mummified Shoshone, n.d.

15. The “Vanishing Indian”, n.d.

16. From 1975 Ten Indians Suite series

17. One of the lithographs: Portrait of an American No. 2

18. Monster Indian, 1968 — seminal early work in the series

19. Buffalo Dancer: New Mexico (State I), 1975

20. Untitled (Self-Portrait), 1971

📍Through 17 Jan 2027. Tower MMK (TaunusTurm, Taunustor 1). Open until 8pm on Wednesdays.

#frankfurtart #popart #nativeamericanartist #mmkfrankfurt taken in MMK Museum für Moderne Kunst Angenehm by @transplantedtatar

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2 days ago

A vibrant, powerful space to enter: Essence of Life at Zollamt @mmkfrankfurt, the first museum solo exhibit of Sudanese artist @amel.bashier (b. 1981, now based in Paris), almost all of it new work.

Bashier lost her father early and grew up watching her mother and sisters hold the family together. That, and years of watching women endure Sudan’s wars, shaped what she paints: women “not just witnesses to suffering,” but life-givers, keepers of memory, and symbols of peace and hope.

1. Ward el Juri (2024), named after Bashier’s daughter, translating to “Damask rose”

2-3. Essence of Life (2026), Bashier’s visual language draws on ancient Nubian wall paintings, Assyrian reliefs, and traditional Indian figural art

4. Women of the Cotton Fields (2026), cotton is Sudan’s colonial-era cash crop, much of it picked by women

5-6. Letters from Exile I and II (2026) — from Bashier: “Although I carry a strong sense of connection to memory and a deep longing for my homeland, I feel this perception I have of belonging extends beyond borders toward humanity as a whole.”

7-9. Home 1-3 (2025-26)

10. Far Inside the Box (2022), from an earlier series, painted dot by dot

11. Giving (2022) — women as “the quiet strength that enables life to continue”

12. Factory Woman (2025)

13. Vision (2025)

14-15. Free Soul I and II (2024)

16. Power of Female (2022)

17-19. Untitled — in Arabic tradition, the crow is the bird of separation, ghurab al-bayn, the “crow of parting,” beneath an empty chair a signifier of absence

20. Mask (2026)

📍At Zollamt @mmkfrankfurt (Domstraße 3). Wednesdays until 8 pm. Through 10 January 2027.

#amelbashier #mmkfrankfurt #sudaneseartist #contemporaryafricanart #womenartists taken in Zollamt MMK by @transplantedtatar

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3 days ago

THIS: #FritzScholder at @mmkfrankfurt, the first comprehensive exhibit of his work—paintings, drawings, collages, and lithographs—outside of North America, meant to expand what counts as American Pop Art.

Scholder’s family was mostly German American. He was born in 1937 in Breckenridge, MN (d. 2005); his Native ancestry came from his paternal grandmother, who was Luiseño, a California Mission tribe. He called himself “non-Indian Indian” — “Indian/Not Indian” the title of the major retrospective I missed at @smithsoniannmai in 2008.

Between 1967 (after teaching at the Institute of American Indian Arts where he recognized the deep anger and alienation among his Indigenous students) and 1980, his work shifted from landscapes and pure abstraction to his “Indian series,” an attack on the stock image of “the Indian” — the anonymous government photograph, the Hollywood still, the tourist souvenir, the history distorted — all the more subversive by pairing Pop Art sensibilities with raw Expressionism.

These are just some works that struck me in the first part:

1. Insane Indian No. 25, 1972

2. Sioux Warrior, 1971

3. White Buffalo Ceremony, 1972

4. The Last Buffalo, 1972

5. Tired Indian No. 1, ca. 1975

6. End of the Trail, 1970, referencing James Earle Fraser’s famous 1915 sculpture, the defining “vanishing Indian” image

7. Indian at the Bar, 1969

8. American Portrait as an Apache, 1975

9. Drunken Indian No. 1, 1972

10. Indian in Taos Pueblo, 1970

11. Indian 1776, 1975

12. Dartmouth Portrait No. 15, 1973

13. Another Indian Cliché, n.d.

14. Indian in a Corner, 1970, Francis Bacon influence

15. Indian in Paris, 1976

16. Indian at Crow Fair, 1979

17. New York City, 1982, made me think of the Mohawk Skywalkers who built NYC bridges and skyscrapers, including the Empire State Building here.

What came before — the abstracts:

18. Stripes No. 1, 1967
19. New Mexico 44, 1966
20. New Mexico No. 32, ca. 1960-1970

More in a post later this week — his most furious, heartbreaking works.

📍At Tower MMK (TaunusTurm, Taunustor 1). Through 17 Jan 2027. Wednesdays open until 8pm.

#nativeamericanartist #mmkfrankfurt #frankfurtart #popart taken in MMK Museum für Moderne Kunst Angenehm by @transplantedtatar

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3 days ago

A glimpse of Stillleben mit Gemüse (Still Life with Vegetables) by Berlin-based Danish-Norwegian duo @elmgreenanddragsetstudio at @staedelmuseum. @hirshhorn’s new 28-foot-tall sculpture “Eight,” the eternally unswimmable pool, is by them.

We somehow missed the two central installations (The Cloud, a high-end restaurant, and Garden of Eden, an office hellscape) but these were startling companions to seeing the collection and experiencing the building.

1. Still Life (Bullfinch)

2-3. The Examiner, Fig. 2 — all the monochromatic figures are bronze, lacquered or patinated

4-6. The Artist, contemplating a fall (or a jump?) against “Mainhattan,” Frankfurt’s skyline of bank towers

7-8. The Visitor, so very in the way

9-10. Back to the bullfinch — the bird’s heart seems to pulsate, next to Jean-Baptiste-Siméon Chardin’s still life of a killed partridge — a child’s first encounter with death, trying to help in vain

11-12. The Drawing, Fig. 2 — he’s so lifelike (silicone, in real clothes)

13. 60 Minutes, next to Rodin’s Eve, despairing at her nakedness after the Fall

14. Forgotten Baby — this one was a bit of a visceral reaction. Couldn’t bring myself to take a picture — the abandoned baby under Pietà…

📍At Städel Museum through Jan 17, 2027.

#elmgreenanddragset #staedelmuseum #frankfurtart #stilllife #hyperrealism taken in Städel Museum by @transplantedtatar

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5 days ago

This was so unexpectedly enjoyable to move through: Destinations by @martin_liebscher_studio at @frankfurtairport — a kaleidoscope of places, all sped up, along the passenger transfer tunnel in Terminal 1.

The tunnel is 288 meters (945 feet) long, and it takes 7 minutes and 39 seconds to ride through if you’re standing on the moving walkway (the right side of it, of course). 40+ destinations, all reachable from this airport.

I enjoyed it so much as I initially started rushing through it (it is so subtly immersive — the sensation woke me up a bit from tunnel vision) that I came back and did it again.

People hurry by, becoming momentary artworks without even knowing it.

#frankfurtairport #frankfurtart #martinliebscher #contemporaryphotography #airportart taken in Frankfurt Airport by @transplantedtatar

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5 days ago

Looking back at Rising Suns: Art from the Confederacies of the Great Lakes and Rivers, the region Montreal sits within, at @mbamtl through October 11.

20 artworks by artists from the Rotinonhsión:ni, Wendat, W8banakiak confederacies and Anishinaabeg alliances.

1. Drowned Memories Jacquard Tapestry 1 (2024) by @ludovicboney — from “bathymetric surveys of the Pessamiulnuatsh territory now submerged by the Manicouagan Reservoir formed when the Daniel-Johnson Dam was built in 1969.” Drowned spruce forests still swaying underwater, “dreams and dormant memories of Elders…”

2. Chantier [Worksite] (2023) by @coco.monnet, a neon sign glows through layers of polyester vapour barrier, evoking a logging camp clearing land: who builds, and on whose land?

3-4. pine stretched towards a clearing (2025) by @gclarks, 50 strands of handmade white #wampum, on handmade Nuučaanut?ath cedar stretcher frame, drawing on the Condolence Ceremony when grief is acknowledged and collectively transformed into renewal.

5. Blanket Stories: Baby, Baby, Baby (2023) by @marie_watt_studio, a sculpture of well-loved baby blankets connecting sky and earth, with a steel core honouring Mohawk Skywalkers, ironworkers who built bridges and skyscrapers.

6. Peace and War at the Same Time (2023) by Nicolas Renaud — a wampum belt in front of a mirror, one ancestral motif both a hatchet and a peace pipe.

7. Medicine (1984) by Carl Migwans Beam (1943-2005), layered images of self, ancestors, keystone animals in a single etching. His 1985 work was the first work by an Indigenous artist the National Gallery of Canada acquired as contemporary art.

8. Tell Me a Story (2023) by MC Snow, new “sherds” honouring ancestral pottery dug up under downtown Montreal.

9. Kanehsatake X (2000) by #RobertHoule: road signs, an X, green and blue panels — an abstract memorial to the 78-day standoff at Oka in 1990, when #Mohawk communities defended their pines and burial ground from a golf course.

10-16. Quilts by Carla Hemlock and video by Raohseraha:wi Hemlock remembering children who never came home from Canadian and US residential schools, the land watching over them

#kahnawake #mbam taken in Museum of Fine Arts, Montreal by @transplantedtatar

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7 days ago

My Skeleton by @k88888888y Kobby Adi at @kunsthalle_portikus.

From the exhibit text (curator @__julianebischoff): To capture something in words is to delineate its borders, rendering it discernible through linguistic and technical systems.

My Skeleton unfolds out of a desire to bring artwork, viewer, site, interior and exterior into direct relation – to dissolve boundaries, cross thresholds and disregard the fiction of separation.”

1-3. My Skeleton, the work that gave the exhibit its title — a bird coated in white limewash, the kind traditionally applied to buildings and trees. A cable runs from the socket up the wall and into the bird, the light exposing the bird’s inner chamber and spilling into the stark exhibit hall.

4-6. Itself — a brown and silver box of steel and aluminum resting on two small blocks of wood (so not touching the gallery floor). Several openings let in light, interrupted by shadows of viewers moving through the space.

7-8. Membrane — heavyweight linen, wood, jute, leather gathered into a hanging disassembled tent, flattened and hovering just over the floor.

9-10. ?

11-12. I liked how #KobbyAdi plays with the gallery space. The two new walls were added intentionally, their height, including rather low arched openings, are the same dimensions as an existing wall on the Maininsel (the island on the river Main) — that wall is a remnant of an unfinished boathouse, visited now by Egyptian geese.

13. Exhibit poster, another threshold. It runs through January 3, 2027 (free).

14. Love the building, designed in 2006 by Christoph Mäckler.

15. The gallery, perched on Alte Brücke 2. Portikus has shown experimental art since 1987 and is run with the Städelschule, Frankfurt’s art academy. @staedelschulemensa

#portikus #contemporarysculpture #frankfurtart #postminimalist taken in Portikus by @transplantedtatar

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8 days ago

Look what I stumbled on in Frankfurt after my first conference day: A Sky Full of Hope – Earthtime 1.78 Frankfurt by @janetechelman

It billows over Konstablerwache, a public square in downtown Frankfurt, knotted using traditional fishing-net techniques.

The title is a reference to the 2011 Tōhoku earthquake off Japan, which triggered a devastating tsunami, sped up Earth’s rotation, and shortened the day by 1.78 microseconds. This installation’s sibling, 1.8 Renwick, was our favorite space at @americanart’s Renwick Gallery — do you remember it?

Frankfurt’s version draws on measurements of Pacific wave heights during the quake. This light, floating apparition, which changes with light, wind, and rain, is grounded in geology.

Installed for World Design Capital 2026 @wdc2026, A Sky Full of Hope will stay in Frankfurt for three years — and it glows after dark.

🎵 “andata” by @skmtgram opens async (2017), the album he made after encountering a piano damaged by the 2011 tsunami, an instrument he felt nature had “retuned.”

#wdc2026 #janetechelman #frankfurtart #konstablerwache #worlddesigncapital @kulturfonds @visitfrankfurt @frankfurtfeeling @museumangewandtekunst taken in Frankfurt Konstablerwache by @transplantedtatar

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9 days ago