Spring SOLOS 2017

on view: April 8 - June 11, 2017

Bridging the community with contemporary art is key to AAC's mission. To achieve this, we bring 14 regional contemporary artists to Arlington each year through our SOLOS series alone!

More than 100 artists living in the Mid-Atlantic Region submitted proposals for this semi-annual exhibition. Jurors Sarah Newman, Independent Curator, and José Ruiz, Co-Director of Present Co. (NY), Director of Furthermore (DC), and Professor in the Curatorial Practice Program at MICA, recommended 14 applicants for inclusion in the SOLOS 2016-17 edition.

Aptly titled, SOLOS artists are assigned to one of our seven main gallery spaces, where they each mount a self-curated, self-contained exhibition, resulting in a selection of never-before-seen exhibitions. Join us for the opening reception Saturday, Apr. 8, 6 - 9 pm.

Saturday, June 10, 1-3 pm: Join us for our Spring SOLOS Gallery Talk, a discussion and tour of each exhibition, followed by a light reception.

Download the Spring SOLOS 2017 catalog

image: John Ryan Brubaker, On Confluence #6

Selected Artists:

John Ryan Brubaker | Thomas, WV

Zoe Cohen | Philadelphia, PA

Shannon Collis | Lutherville, MD

Braxton Congrove | Richmond, VA

Sascha Hughes-Caley | Philadelphia, PA

Ali Seradge | Baltimore, MD

René Treviño | Baltimore, MD

About the Exhibitions

John Ryan Brubaker (Thomas, WV) uses photography to capture subject matter focusing on transitory physical spaces – interstates, train stations, riverbeds, trails, and intersections – while his process involves various photographic experiments. For SOLOS at AAC he will exhibit his latest work, On Confluence. This series of photographs was processed in a river in West Virginia, using acid mine drainage as the developing agent.

Zoe Cohen’s (Philadelphia, PA) Shul/Church Project is an ongoing exploration of historic Synagogues built in U.S. cities which were later repurposed as African-American Churches, or demolished. Watercolor and cut-paper works depict the buildings from a variety of viewpoints, while audio collages recorded at Jewish and Christian congregations tell the story of a shared history.

Shannon Collis’ (Lutherville, MD) work explores the phenomenon of cross-modal perception and the role of sound in shaping our experience of the environment. This project focuses on the creation of a system that gathers sonic and visual data from the physical world using microscopic camera assemblies, vibration sensors, and digital video and sound processing.

In Braxton Congrove’s (Richmond, VA) work, reimagined landscapes are built through childlike play and dreamlike futures in order to explore the complexities of gender and the double nature of props for performance and their ability to stand on their own as an artwork. With an interest in the ways that craft processes can be used to make nonfunctional objects and how those objects become powerful, Congrove’s work becomes an environment or set that is playful, friendly and slightly absurd.

Sascha Hughes-Caley (Philadelphia, PA) uses humor to explore existential metaphors while comprehending the mundane and mystic. Also trained as an actor, her studio practice engages performance, photography, sculpture, and time-based arts. Hughes-Caley’s artistic concerns are primarily centered on American conversations around gender, self-help, spirituality, and failure. By borrowing from comedic genres and practices, she hope to address bigger, darker themes ranging from shame to power.

Ali Seradge (Baltimore, MD) is an Iranian American who experiences the current state of the Middle East and Mediterranean regions and its citizens via screens and broadcasts. Seradge takes the cultural myths of these regions and the atrocities he witnesses on the screen and marryies them to the mythos of his youth, specifically the original Transformers cartoons and science fiction. His grotesque, chimeric creatures serve as a warning: a monster can remind you of a moral lesson or that tragedy can befall at any moment.

René Treviño’s (Baltimore, MD) work is an attempt to make our already complicated history even more complicated. The more layers that are presented, the closer the work approaches something that might resemble truth. In this series, Treviño renames constellations, stripping them of their Greek and Western mythos and replacing them with names from Ancient Mexico and more personal family history.

Want to apply for a spot in the SOLOS exhibition? Click here for details.