David and Carmen Kreeger were devoted patrons of the arts and the Washington, DC arts community. They supported countless Washington-area artists including Sam Gilliam, Simmie Knox, Thomas Downing, Gene Davis, Morris Louis, Ed McGowin, and Albert Stadler, purchasing their work at the Corcoran Gallery of Art biennials, area galleries, and directly from artists in the 1960s and early 1970s. The Collaborative is a guest artist exhibition program developed to support Washington-area artists.
"We are thrilled to be in partnership with arts organizations across the city to present work of contemporary Washington-area artists. The Collaborative furthers our mission by supporting and spotlighting the immense talent of visual and performing artists in our city. We are honored to champion the work of these artists and provide many of them the opportunity to present their work in a museum for the first time." - Helen Chason, Director
Hamiltonian Artists Perplexity
Michael Dax Iacovone, Golden Ratio, 2022, Archival print, 30 x 54 in., Courtesy of the artist.
Hamiltonian Artists and The Kreeger Museum are pleased to present Perplexity, an exhibition of the work of seven Hamiltonian Artists Alumni—Amy Boone-McCreesh, Brian Michael Dunn, Michael Dax Iacovone, Sarah Knobel, Joyce Yu-Jean Lee, Helina Metaferia, and Jerry Truong—on view at The Kreeger Museum from September 17 through December 10, 2022. Working in a diverse range of mediums, such as paper, textile, mirror, metal, charcoal, waste, and performance, to mimic surfaces, spaces, and objects, the artists explore aesthetic possibilities, enhanced, and manipulated by human interaction – highlighting the malleability of certain materials and textures. The implications of our social environments are reflected on as the artists explore the depths of our sensory experiences.
Hamiltonian Artists’ mission is to build a dynamic community of innovative artists and effective visual art leaders by providing professional development opportunities to innovative new artists and by advancing their entrepreneurial success. Through its unique investment into the next generation of cutting-edge artists, Hamiltonian helps artists to develop important business skills, professional experiences, and visibility to support and sustain their art career. Through artist talks, public events, and its membership program, the organization contributes to the vitality of DC’s burgeoning arts scene by deepening the appreciation for contemporary art and culture throughout Washington, DC, and beyond.
The Kreeger Museum Celebrates International Sculpture Day with Hamiltonian Artists
The Nicholson Project
Weathering is an installation that brings together a collection of Climate Ponchos– wearable sculptures used in the ongoing performance series Climate Immigrants (2017-present). In it the performers wear Climate Ponchos adorned with images that depict various archetypal travelers. The series expands upon issues of immigration by implicating everyone and not just a select group, addressing one of the most pressing topics of our time: climate-triggered immigration in relation to US-centric xenophobia. The Climate Ponchos are paired with a new series of sculpted heads entitled The Plant People (2021), a mixed media sculptural series utilizing familiar objects with unique handmade elements to depict the blooming heads of The Plant People, a fictional group of cultural influencers who see themselves as stewards of the earth. Weathering considers the plight of climate induced global migration and its effects on people of color and the population at large. In Weathering the artist utilizes pervasive and harmful materials currently in heavy circulation across the world in the form of fossil fuel derived plastics not unlike those found in our quotidian lives including in our homes, plumbing, bank cards, food containers, clothing, and even photographic records. Weathering warns us of idly waiting out the storm as we continue to be worn down by long exposure to the atmosphere. The works on view highlight the artist’s interest in fabulating and remixing mythologies to protest our waged war on nature.
Hoesy Corona is an uncategorized queer Latinx artist of Mexican descent living and working in the United States. Using a variety of media spanning installation, performance, and video, Hoesy develops otherworldly narratives centering marginalized individuals in society that investigate what it means to be a queer Latinx immigrant in a place where there are few. He choreographs large-scale performances and installations that oftentimes silently confront and delight viewers with some of the most pressing issues of our time. Reoccurring themes of queerness, race/class/gender, nature, isolation, celebration, and the climate crisis are present throughout his work. Hoesy has exhibited widely in galleries, museums, and public spaces in the United States and abroad including recent solo exhibitions Sunset Moonlight (2021) at The Walters Art Museum in Baltimore, MD, Earthly Mirage (2021) at the Hardesty Arts Center in Tulsa, OK, and Alien Nation (2017), a large scale performance at The Hirshhorn Museum and Sculpture Garden in Washington, DC. He lived in Mexico, Utah, and Wisconsin, before moving to Baltimore, MD in 2005 to establish a professional practice in the arts. He is a recent GKFF Artist Fellow 2019 & 2020 in Tulsa, OK, and is a former Halcyon Arts Lab Fellow 2017-2018 in Washington, DC. In 2021 he was the recipient of the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation’s MAP Fund Grant.
Stan Squirewell, Tina and Chelsea, 2021, Mixed Media Collage with Carved Shoutouts Sugi Ban Frame, Courtesy of the Artist
Stan Squirewell is a painter, photographer, installation, and performance artist. Born and raised in Washington, DC in Anacostia's Barry Farm neighborhood, Squirewell established a serious art practice while working from his Harlem-based studio before moving to Louisville, KY where he currently lives and works. His work examines who curates and controls the narratives that become accepted as history; from what perspective is history written, whose stories are told, and whose are neglected?