Alexander D’Agostino

"Burning only makes it stronger. Still, it’s terrifying", 2024, Cyanotypes on cotton, reduced with book ashes and toned with Lipton black tea. Solarfast dye on cotton. Each shroud: 8.5 X 11 in

"Queer Shroud Grid: An Index of Fire" , 2024, Cyanotypes on cotton, reduced with book ashes and toned with Lipton black tea.; solarfast dye on cotton; leather and paper books. 55 X 93.5 in (each shroud: 8.5 X 11 in)

"May 10, 1933", 2024, Cyanotypes on cotton, reduced with book ashes and toned with Lipton black tea. 93.5 X 22 in (each shroud: 8.5 X 11 in)

"Queers Shrouds: Libracide timeline", 2024, Cyanotypes on cotton, reduced with book ashes and toned with Lipton black tea. Solarfast dye on cotton No dimension

An Index of Fire
December 7 – 29, 2024

An Index of Fire examines the history and impact of book burnings, presenting images of historic and contemporary book burnings. These images are printed on textiles using cyanotype,and then reduced—or “bleached”—using ashes from water-damaged books Alexander burned. The work surveys the pervasive and alarming history of book burning, emphasizing its futility, particularly in the wake of the printing press. While burning books rarely stops the spread of knowledge, the act is far from inconsequential. As a stark warning, book burnings, censorship, and bans often signal a society descending into fascism, one that fears free thought and human curiosity.The exhibition reimagines the book as a talisman of perseverance, illustrating how even its ashes can become a medium for creating and transforming, turning flames into records of resistance. 

“Lost in thought,” 2024, 24 x20 in, Acrylic/graphite

"Seven", 2024, 30"x24", Acrylic/graphite

"Rosewood", 2024, 35"x35", Acrylic/graphite

"Dreamers", 2024, 24"x36", Acrylic/graphite

"Light", 2024, 20"x24", Acrylic

"Synchronicity", 2024, 36"x24", Acrylic/graphite

"Threads of faith", 2024, 48"x24", Acrylic/graphite

The Great Silence
December 7 – 29, 2024

The Great Silence invites you to step into a world of curiosity and yearning that permeates human nature. Composed of 10 to 15 mid-sized figurative acrylic and graphite paintings, the exhibition examines humankind’s—and the artist’s personal—search for connection with others and for something beyond ourselves.

At the heart of this exhibition lies a profound silence that connects us to a vastness beyond human thought, a place that reveals our true selves. Each painting invites viewers into a space where silence speaks through the pictorial language of color, form, and shadow. Blending emotive colors with subtle, evocative compositions, The Great Silence reminds us of the mysteries of the cosmos and the moments of silence that truly bind us together.

Claudia "Aziza" Gibson-Hunter, "We Bends Time Flight School Series", 2023, Acrylic, colored pencil on cradled wood, 17.5 x 20.5 x 4.5 in

Olivia Bruce, "Untitled", 2024, Watercolor and Sumi-e on Vellum, 18 x 22 in

Cindy Rivarde, "Trinity", 2024, Oil on Canvas, 60 x 36 in

EJ Montgomery, "First Light", 2024, Screenprint on BKF Rives White 250gsm, 13 x 10 inches image size, 22 x 15 inches paper size, Edition of 20, 10 APs

Helen Frederick, "Art and Influences", 2023, Two block linoleum Chine Colle’ print edition of 50, 18 x 17.50 in, bleed image

Imar Lyman, "For the Love of E.J. – Millennium Language", 2024, 10-color serigraph printed on BFK Rives 250 gsm, 19.5 x 25.5 in (unframed)

Kristen Hayes, "Ft. Washington Park Spirit Tree Series: Magenta Burst #1", 2024, Acrylic and chalk paint on unprimed canvas, 38 x 72 inches

"Awakening", 2024, Acrylic on canvas, 35 x 45 in

"Evening Ritual", 2013, Pigment print on canvas, 22 x 40 in

Omari Jesse, "We Got More Yesterday Than Anybody", 2024, Collage, found imagery on archival paper, 14 x 24 in

Preston Sampson, "Golden Child", 2022, Acrylic and mixed media on canvas, 30 x 40 in

Rashad Ali Muhammad, "Can I Just Be Free", 2024, Mixed media collage (paper, fabric, fringe, and acrylic) on canvas 30 x 40 in

Roslyn Cambridge, "Collage Series Two", 2021, Collage, 4 x 6 in

Tim Davis, "Colored Dreams III", 2017, Diptych, Mixed media, Each 16 x 48 in

Collecting Community: Millennium Arts Salon at 25

Curated by Lauren Davidson and Jarvis DuBois

November 2 – December 29, 2024

As we celebrate the 25th anniversary of Millennium Arts Salon, we honor a vibrant community that champions creativity, diversity, and dialogue. Collecting Community: Millenium Arts Salon at 25 reflects the organization’s journey through contemporary art, showcasing the innovative spirit that defines its mission.

Over the past 25 years, Millennium Arts Salon has been a vital platform for both emerging and established artists, fostering belonging and exploration while raising the visibility of local Washington, D.C. talent. This anniversary exhibition features curated works that embody collaboration, cultural exchange, and varied voices.

Each piece tells a unique story of personal expression and artistic evolution. From Aziza Gibson-Hunter’s colorful abstract sculptures exploring time and memory to Rashad Muhammad’s bold collages reflecting self-discovery, the works invite engagement and connection.

This celebration not only honors the salon’s achievements but also invites continued dialogue about the future of art as a catalyst for change. Join us in this celebration of creativity and the transformative power of art!

Marcel Taylor, "Elegance Personified (detail)," 2024, acrylic on canvas, 60 x 60 in

Marcel Taylor, "Skeptical Eyes," 2024, Acrylic on canvas, 36 x 36 in

Marcel Taylor, "Cynical Mood," 2024, Acrylic on canvas, 36 x 36 in

Marcel Taylor, "Royal Siblings," 2023, Acrylic on canvas, 36 x 36 in

Marcel Taylor, "Entangled Souls," 2024, Acrylic and paper on canvas, 30 x 40 in

Marcel Taylor " Unapologetic," Installation, 2024

Unapologetic
November 2- December 1, 2024

Marcel Taylor’s Unapologetic presents a powerful counter-narrative to the often reductive portrayals of Black culture in popular media. His work not only critiques the sensationalism in the media but also reclaims space for dignity and strength within Black narratives. Through works like “Elegance Personified,” Taylor elevates Black womanhood, emphasizing confidence and refinement over hyper sexualization. This portrayal invites viewers to see the subject not just through the lens of societal stereotypes but as a multifaceted individual of dignity. 

The themes of fortitude and identity are further explored in pieces like “Skeptical Eyes” and “Cynical Mood,” where the invisible face “masks” symbolize the double consciousness described by W.E.B. Du Bois. These works highlight the internal struggles faced by individuals who must navigate a world that often misrepresents them.

In “Entangled Souls,” the protective costumes inspired by traditional African art serve both as armor against societal judgments and as a celebration of cultural heritage. The patterns evoke a sense of superhero strength, reinforcing the idea that these individuals possess an inner resilience that challenges the dominant narratives.

Joana Stillwell, "Travel lightly," 2018, video, inkjet print on vellum, dry erase marker, 4:36 duration

Joana Stillwell, "Travel Lightly" Installation, 2024

Joana Stillwell, "Things to say in the blue," 2024, facsimiles of polaroids, postcards, and cards printed on vellum various sizes

Joana Stillwell, "Things to say in the blue," 2024, facsimiles of polaroids, postcards, and cards printed on vellum various sizes

Travel Lightly
November 2- December 1, 2024

In her exhibition Travel Lightly, Joana Stillwell uses personal and found correspondences to inform this series of ephemeral works. The exhibition is a meditation on data, feelings, and touch that examines the tools we use to communicate and the subsequent records we create online and physically.