Wardell Milan – Pulse. That’s that Orlando moon, 808 club bass. That’s that keep dancing, that’s that never stop.
Visitors entering the first-floor galleries of The Phillips Collection’s transporting exhibition Multiplicity: Blackness in Contemporary American Collage are greeted by greatness — a statuesque modern Black woman, standing proudly in sneakers, her head adorned in a golden crown composed of cut-out newspaper images and articles depicting Civil Rights-era student protests.
“Headdress 61,” by D.C.-born artist Helina Metaferia, offers a warm introduction to the sprawling show, organized by the Frist Art Museum in Nashville, Tennessee, and featuring 60 works by 49 African-American artists.
Spread across three floors in two buildings, the works — exploring identity, history, memory, sexuality — express each artist’s individual purpose in their approach to the art of collage.
Artist Tschabalala Self’s arresting “Sprewell” suggests, as the curators note, the multidimensionality of Black identity: “One individual being made from lots of different distinct elements,” as Self says.
That might easily describe much of the figurative work, including Yashua Klos’ evocative woodblock print on paper “Uncle Scott,” and Devan Shimoyama’s sexy, psychedelic “Red Haze,” a figure conceived as “both desirable and desirous,” according to the artist.
Shimoyama is one of several queer artists represented throughout the exhibition, and in a gallery dedicated to Gender Fluidity and Queer Spaces, where visitors will find Wardell Milan’s powerful “Pulse. That’s that Orlando moon, 808 club bass. That’s that keep dancing, that’s that never stop,” a tribute to the Orlando nightclub and the city’s queer community that genuinely pulses with life.
Multiplicity: Blackness in Contemporary American Collage is on display through Sept. 22 at The Phillips Collection, 1600 21 St. NW. Admission is $20, with discounts for seniors, students, and military, and free admission for members and children under 18. Visit www.phillipscollection.org.
Forced by a cancer diagnosis to step back from a career of popular books and sold-out national tours, rock star spoken-word poet Andrea Gibson rallied with their partner, poet Megan Falley, and friends and family to fight for their life.
Then, as intimately chronicled in Ryan White’s documentary Come See Me in the Good Light, premiering on Apple TV+, Gibson learned that, even after surgery, radiation, and rounds of chemo, their ovarian cancer was incurable. And Gibson decided they didn’t want to waste a second of the brief time they have left.
In the film, Gibson is a figure in constant motion, in myriad ways. Toiling around the house and yard they share with Falley on a remote mountain road, or managing the physical toll of their illness and various treatments, or reclining on a sofa editing their own work with intensity, Gibson remains restless, unquiet.
The strangest thing Pixie Windsor ever sold was a stuffed cat.
“I was like, oh, my god, I can't believe I sold a dead cat,” laughs the longtime proprietor of Miss Pixie’s Furnishings & Whatnot. “But it was early on, when I wanted to be just as weird as I could possibly be. Selling that cat -- I mean, that guy moved to New York, and every once in a while he’ll send me a picture. He goes, ‘Fred is still around.’ I think his story was he always wanted a pet but didn’t want to have to take care of it, so there you go!”
Pixie adds she also “sold the big taxidermied groundhog that they used for the Groundhog Day celebration at Dupont Circle.” She has long since moved away from selling stuffed animals at her antique store, known for its eclectic tchotchkes, offbeat art, and gorgeous vintage furniture sourced from regional auctions and estate sales.
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