New and Upcoming Shows: Art and the City

Duly Noted “Look In Her Eyes”, 44”x56”, Charcoal and latex paint on canvas. Image courtesy of the artist.
Foundry – Duly Noted “Back Breaking”, 42”x54”, Charcoal and latex paint on canvas. Image courtesy of the artist.

Foundry Gallery
Duly Noted Painters “Weight of the World”
June 3 – 25, 2023

Working in tandem, artist duo Kurtis Ceppetelli and Matt Malone jointly call themselves “Duly Noted Painters.”  The pair’s third exhibition at Foundry Gallery titled “Weight of the World” is a new series of figurative work, a subject-matter for which the artists are known.  They liken their creative process to a pair of Jazz musicians improvising as they play.  The artists produce large paintings on rough canvas using charcoal and salvaged household latex paint which they affectionately call “an orphanage of color.”  Over the course of their partnership, Duly Noted Painters have created mostly human-centered works consisting of both individual portraits and what appear to be staged scenes with multiple actors.  As each artist adds his touch of paint or charcoal, new layers form and often these marks create abstract elements which surround the more defined human figures.  In “Weight of the World,” the duo examines the fear and uncertainty about the future in our post-pandemic world.  Having followed these artists work for almost a decade, what I find particularly novel about the work in this series is the use of brighter, almost fluorescent colors.  However, the artists explain that “the frequently bright color palette masks and contradicts a tense underlying narrative of tough times.”  “Back Breaking” perfectly illustrates this—the pleasing purple and reddish-orange hues of the painting contradict the arduous physical labor endured by the subjects. 2118 8th Street NW, Washington, DC. Hours: Friday, Saturday, Sunday 12-6 p.m.

Hemphill – Anne Rowland, “Farther Over There (Lake Paiku, Tibetan Plateau)”, 2022, archival pigment print on rag paper, 30 x 22 3/4 inches, Ed. 1/5. Image courtesy HEMPHILL.

Anne Rowland “Pictures”
May 20-July 1

To produce work for her third solo exhibition at HEMPHILL titled “Pictures,” Anne Rowland has experimented with the use of artificial intelligence, describing her prints as “inhabiting a place between photography and painting.”  As a child growing up in Great Falls, VA, Rowland recalls being surrounded by all kinds of maps and aerial photos of her family home and of nearby properties in the 1960s when the area still had working farms. She laments the systematic expansion of suburban sprawl in Northern Virginia and the destruction of these once rural areas. Rowland has dedicated a large swath of her artistic career to studying landscapes and their transformation.  In “Pictures,” she printed works which represent aerial views that are, in part, created by artificial intelligence. As she explains it “I am taking machine-made imagery and transforming it into something new.”  The process has resulted in prints which look like abstract paintings whose rounded forms appear to be in a constant, swirling motion. Upon closer examination of these dizzying forms, one can discern aerial images of mountains peaks, fields and deserts.  434 K Street NW, Washington, DC. Hours: Tuesday–Saturday from 12–5 p.m., Thursday hours to 7 p.m.  202.234.5601 or

Portrait of Queen Lili`uokalani, Artist: William F. Cogswell, Oil on canvas, c. 1891-92. Hawai’i State Archives; Photo: David Franzen

National Portrait Gallery
“1898 US Imperial Visions and Revisions”,  Apr.  28, 2023-Feb. 25, 2024,

You do not have to remember the details of the Monroe Doctrine from high school history to enjoy “1898 US Imperial Visions and Revisions” currently on view at the National Portrait Gallery through next February.  In fact, the team of historians and curators who assembled this exhibition would like to encourage audiences to reexamine US history, arguing that the Spanish American War, the Philippine-American War and the Annexation of Hawaii are key moments in the US’s rise as a world power. As a result of these military actions between 1898 and 1899, the US expanded its territorial holdings to include Cuba, Puerto Rico, Guam, Hawaii and the Philippines.   The expansive exhibition features period collectibles (including some really odd board games!), photographs, political cartoons, newspaper clippings and most importantly portraits of many of the key leaders during this period.  Two portraits in particular are worth a visit to the exhibition—John Singer Sargent’s rendition of President Theodore Roosevelt and William F. Cogswell larger-than-life painting of Queen Lili`uokalani of Hawaii.  Roosevelt’s portrait, which is on loan from the White House, is one of art history lore—it is said the Roosevelt could not sit still for his portrait forcing Sargent to paint him in five minute increments.  Queen Lili`uokalani’s massive portrait is a masterpiece which dominates the room and commands your attention.  This is the first time the queen’s portrait has ever left Hawaii so don’t miss your chance to see it unless you plan a trip to the 50th state in 2024. Eighth and G streets NW, Washington, DC. Hours: Every day from 11:30 a.m.-7 p.m., except Dec. 25. 202-633-1000.

Adkins – Alonzo Davis “Navigating Climate Change”. Photo credit: Mary Mccoy.

Adkins Arboretum
Alonzo Davis “Navigating Climate Change”
May 2-June 30, 2023

Adkins Arboretum is about an hour away from Capitol Hill on the Eastern Shore of Maryland adjacent to Tuckahoe State Park and hosts art programs throughout the year in its main pavilion.  A visit here is a great option for those of you interested in a quick day-trip.  Alonzo Davis is a renowned and celebrated artists, gallerist and educator whose career spans over a half-a-century. The prestigious David Driskell Center at the University of Maryland acquired the artist’s archive last year.  “Navigating Climate Change” exhibits Davis’ recent raft sculptures titled “Navigation Series” which he created using bamboo canes, dyed cloth (which represent sails) and LED lights.  Davis found inspiration in the use of “stick charts” used by Micronesians to navigate between very distant islands in the vast expanses of the Pacific Ocean. While the works touch on several topics, one of the most poignant is the impact rising oceans will have on low-lying island-nations. What I find particularly interesting is that “Navigating Climate Change” is being shown on the Eastern Shore.  Like Micronesia, most of the Delmarva Peninsula is mostly at sea-level and faces a similar existential threat if political leaders do not act swiftly to resolve the effects Global Warming. 12610 Eveland Road, Ridgely, Md. Contact the Arboretum at 410-634-2847, ext. 0 or for gallery hours.

Phil Hutinet is the founding publisher of East City Art, DC’s visual art journal of record. For more information visit