From Yelp:

We're officially hiring a new community intern for later 2025 when Riley's time comes to an unwanted end, and we're on the hunt for another perfect fit. As Elites, you know a ton of talented people so we're tapping on you to help us spread the word on this five-star opportunity. If you know someone that is the best at throwing parties, loves all things local, and has brand social media experience, have them apply at the link below.

Apply here.

Beware of this scam pretending to come from the well-known auction house:

From: Clientservicesnewyorkphillips  - clientservicesnewyorkphillips@gmail.com -

Subject: PHILLIPS AUCTION PROPOSAL

Greetings! We hope this message finds you well. This is the Phillips Auction Team reaching out to express our admiration for your exceptional artwork. Over time, we have closely followed your creative journey and have been thoroughly impressed by the depth and quality of your work. 

After careful consideration, we are excited to extend an invitation to collaborate with you. We believe your unique artistic vision aligns seamlessly with our mission to showcase and celebrate outstanding talent. 

To learn more about Phillips Auction House, please visit our website [https://www.phillips.com/

You may also explore our social media pages for further insights into our initiatives and community. Once you’ve had the opportunity to review our platform, we would be delighted to hear your thoughts and discuss how we can work together.

We look forward to your response and the possibility of collaborating with you.

[Phillips Auction Team]

Coming to Links Bridge Vineyards:

Arlington abstract painter and instructor Bryan Jernigan came to the DMV from rural Oklahoma more than 35 years ago and his upcoming solo show called “Sound of Line” will debut at Links Bridge Vineyards in Thurmont, MD on Saturday, April 5, 2025.

“When I came to Washington, D.C. to live, it wasn’t my first time, but I had only visited once before,” Jernigan said. “Like most young people, I planned to make my name professionally and move on or move back to where I was raised. But D.C. had other plans for me, I guess. Instead, I saw most of my friends peel off and return home, taking back a little piece of urbanity with them. Unlike them, I absorbed the realities of living here – internalizing the highs and lows, taking in the triumphs and suffering through the realities of living the city life, digging in and getting to learn about cultures separate and apart from my own and enduring the everyday realities of things as mundane as seemingly unending traffic commutes.”

Jernigan said coming from the country but choosing to live a city life shaped how he sees the world and how he responds to it in his art.

“In this series – that comprises more than 50 original works on paper and wood panel – the things I noticed most were lines; how they keep us connected, but at the same time how tenuous they are,” he said. “They are less about real things and more about my responses to the things I see - power lines that carry communications from all who use them or lines in pavement that show the age of some parts of the city. The pieces have a gritty feel to them, which is another aspect of living in the city, this juxtaposition between the dirty and the pristine.”

The pieces that span from 12-inch to 3-feet squares include expanses of vibrating actions, scratchy marks and calm respites of undulating non-colors punctuated by bold vibrancy.

“Living in a city is often chaotic, but we do our best to control that craziness in our daily lives. I want the pieces to feel like the embodiment of city living. An homage, so to speak,” Jernigan said. “I hope they are exciting and make viewers feel something akin to a car crash on an otherwise uneventful commute. They are real and they are palpable, and I hope they will resonate with others who live here. We are all different – different backgrounds, different ethnicities – but we all share the same experience of living here and navigating it and getting by.”

Jernigan’s pieces have already received critical acclaim. One of them was chosen by juror Jeffrey W. Allison, the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts (VMFA) for the McGuffey Art Center’s Mid Atlantic Juried Exhibition in Charlottesville.

“I’d say one of the artist’s worst fears is that they will muster up the courage to be vulnerable enough to create a body of work and then it gets a bad reception,” the artist said. “So, I entered a show with one of them who offered a well-regarded juror I knew it would be a good test. Happily, I was rewarded by having him choose my piece to include in the show. That little test helped me realize I was on the right track with this series.”

Links Bridge Vineyards will host an opening reception with an artist talk between 1 and 3PM on Saturday, April 5 and the show runs until Friday, April 27. See all the works online at www.bryanjernigan.com.

The halcyon years of the Washington Color School, over half a century ago, still represent the deepest fine arts footprint ever made by our (then) regional artists, elevating most of them to (now) a global presence.

There's currently a terrific show at Hemphill showcasing the works of two immensely talented artists: Leon Berkowitz and Wayson Jones.

Jones' work first came to my attention via my good friend Lou Stovall, when Stovall selected Jones in 2010 for the October Members Show in Hillyer Art Space.

I've been following Jones' work for many years, and in 2018 I wrote about his participation in that year's Superfine Art Fair and highlighted the "refined works of Wayson R. Jones, whose technique and presentation just keeps getting better and sharper! This is a key DMV artist deserving of more attention by the curatorial cabal of our area." And two years ago I was in the audience when Jones, who in 2022 was Montgomery College’s Visual and Performing Arts Department's Artist in Residence, presented a really good Artist Talk one September day. 

It has been said that "Leon was a character, a character that stood alone..." 

In "An Interview with Gene Davis" by Walter Hopps, we learn that the The Washington Color School "members" did not feel much camaraderie, with each other, and perhaps even a sense of jealousy? George Hemphill notes that:

There are stories of Davis' extreme annoyance at the Corcoran students gathering in groups and sitting before Berkowitz's paintings while leaving his work absent of attention. Berkowitz's paintings sold as well, possibly better than others. His peers' work may garner greater investment returns today, but none have as much universal and growing appeal.

Leon Berkowitz (Photo by Paul Feinberg - Courtesy of Hemphill)

This is an important show which deserves attention not only because of the historical importance of Berkowitz, but also and equally important, a new and powerful footprint by a superbly talented contemporary artist who clearly represents a 21st century extension of those halcyon days. 

Leon Berkowitz in his studio (Photo by Paul Feinberg - Courtesy of Hemphill)

The show runs through April 26, 2025.

H E M P H I L L

434 K Street NW

Washington DC 20001

202.234.5601

hemphillfinearts.com

 Exhibition: "Big Color" at Jo Fleming Contemporary Art

A Celebration of Color and Movement

Barbara Januszkiewicz is no stranger to the transformative power of color. As a contemporary artist deeply influenced by the Washington Color School, her work expands the conversation of color abstraction, layering rich, translucent hues to create movement, depth, and emotion on canvas.

Her latest exhibition, "Big Color," opening at Jo Fleming Contemporary Art, is a bold statement in large-scale abstraction. Through fluid, luminous compositions, Barbara merges color fields with gestural forms, creating an immersive experience that invites viewers to feel color in a way that goes beyond traditional painting.

Color as a Language

Barbara’s technique involves staining unprimed canvas, allowing color to soak deep into the fibers, much like watercolor on paper—creating a luminous, almost ethereal effect. Her paintings breathe and flow, echoing the rhythms of nature, music, and emotion.

Her work has been featured in museums, embassies, and private collections, and this new body of work continues her lifelong dialogue with color, light, and form.

Why You Should See "Big Color"

For collectors, art lovers, and those who simply appreciate the emotional impact of color, this is an exhibition not to be missed. The artist reception on March 8 will provide a unique opportunity to hear Barbara speak about her work, her influences, and how she continues to push the boundaries of abstraction.

More Info: https://www.joflemingcontemporaryart.com/exhibitions

From Yelp:

We're officially hiring a new community intern for later 2025 when Riley's time comes to an unwanted end, and we're on the hunt for another perfect fit. As Elites, you know a ton of talented people so we're tapping on you to help us spread the word on this five-star opportunity. If you know someone that is the best at throwing parties, loves all things local, and has brand social media experience, have them apply at the link below.

Apply here.

Beware of this scam pretending to come from the well-known auction house:

From: Clientservicesnewyorkphillips  - clientservicesnewyorkphillips@gmail.com -

Subject: PHILLIPS AUCTION PROPOSAL

Greetings! We hope this message finds you well. This is the Phillips Auction Team reaching out to express our admiration for your exceptional artwork. Over time, we have closely followed your creative journey and have been thoroughly impressed by the depth and quality of your work. 

After careful consideration, we are excited to extend an invitation to collaborate with you. We believe your unique artistic vision aligns seamlessly with our mission to showcase and celebrate outstanding talent. 

To learn more about Phillips Auction House, please visit our website [https://www.phillips.com/

You may also explore our social media pages for further insights into our initiatives and community. Once you’ve had the opportunity to review our platform, we would be delighted to hear your thoughts and discuss how we can work together.

We look forward to your response and the possibility of collaborating with you.

[Phillips Auction Team]

Coming to Links Bridge Vineyards:

Arlington abstract painter and instructor Bryan Jernigan came to the DMV from rural Oklahoma more than 35 years ago and his upcoming solo show called “Sound of Line” will debut at Links Bridge Vineyards in Thurmont, MD on Saturday, April 5, 2025.

“When I came to Washington, D.C. to live, it wasn’t my first time, but I had only visited once before,” Jernigan said. “Like most young people, I planned to make my name professionally and move on or move back to where I was raised. But D.C. had other plans for me, I guess. Instead, I saw most of my friends peel off and return home, taking back a little piece of urbanity with them. Unlike them, I absorbed the realities of living here – internalizing the highs and lows, taking in the triumphs and suffering through the realities of living the city life, digging in and getting to learn about cultures separate and apart from my own and enduring the everyday realities of things as mundane as seemingly unending traffic commutes.”

Jernigan said coming from the country but choosing to live a city life shaped how he sees the world and how he responds to it in his art.

“In this series – that comprises more than 50 original works on paper and wood panel – the things I noticed most were lines; how they keep us connected, but at the same time how tenuous they are,” he said. “They are less about real things and more about my responses to the things I see - power lines that carry communications from all who use them or lines in pavement that show the age of some parts of the city. The pieces have a gritty feel to them, which is another aspect of living in the city, this juxtaposition between the dirty and the pristine.”

The pieces that span from 12-inch to 3-feet squares include expanses of vibrating actions, scratchy marks and calm respites of undulating non-colors punctuated by bold vibrancy.

“Living in a city is often chaotic, but we do our best to control that craziness in our daily lives. I want the pieces to feel like the embodiment of city living. An homage, so to speak,” Jernigan said. “I hope they are exciting and make viewers feel something akin to a car crash on an otherwise uneventful commute. They are real and they are palpable, and I hope they will resonate with others who live here. We are all different – different backgrounds, different ethnicities – but we all share the same experience of living here and navigating it and getting by.”

Jernigan’s pieces have already received critical acclaim. One of them was chosen by juror Jeffrey W. Allison, the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts (VMFA) for the McGuffey Art Center’s Mid Atlantic Juried Exhibition in Charlottesville.

“I’d say one of the artist’s worst fears is that they will muster up the courage to be vulnerable enough to create a body of work and then it gets a bad reception,” the artist said. “So, I entered a show with one of them who offered a well-regarded juror I knew it would be a good test. Happily, I was rewarded by having him choose my piece to include in the show. That little test helped me realize I was on the right track with this series.”

Links Bridge Vineyards will host an opening reception with an artist talk between 1 and 3PM on Saturday, April 5 and the show runs until Friday, April 27. See all the works online at www.bryanjernigan.com.

The halcyon years of the Washington Color School, over half a century ago, still represent the deepest fine arts footprint ever made by our (then) regional artists, elevating most of them to (now) a global presence.

There's currently a terrific show at Hemphill showcasing the works of two immensely talented artists: Leon Berkowitz and Wayson Jones.

Jones' work first came to my attention via my good friend Lou Stovall, when Stovall selected Jones in 2010 for the October Members Show in Hillyer Art Space.

I've been following Jones' work for many years, and in 2018 I wrote about his participation in that year's Superfine Art Fair and highlighted the "refined works of Wayson R. Jones, whose technique and presentation just keeps getting better and sharper! This is a key DMV artist deserving of more attention by the curatorial cabal of our area." And two years ago I was in the audience when Jones, who in 2022 was Montgomery College’s Visual and Performing Arts Department's Artist in Residence, presented a really good Artist Talk one September day. 

It has been said that "Leon was a character, a character that stood alone..." 

In "An Interview with Gene Davis" by Walter Hopps, we learn that the The Washington Color School "members" did not feel much camaraderie, with each other, and perhaps even a sense of jealousy? George Hemphill notes that:

There are stories of Davis' extreme annoyance at the Corcoran students gathering in groups and sitting before Berkowitz's paintings while leaving his work absent of attention. Berkowitz's paintings sold as well, possibly better than others. His peers' work may garner greater investment returns today, but none have as much universal and growing appeal.

Leon Berkowitz (Photo by Paul Feinberg - Courtesy of Hemphill)

This is an important show which deserves attention not only because of the historical importance of Berkowitz, but also and equally important, a new and powerful footprint by a superbly talented contemporary artist who clearly represents a 21st century extension of those halcyon days. 

Leon Berkowitz in his studio (Photo by Paul Feinberg - Courtesy of Hemphill)

The show runs through April 26, 2025.

H E M P H I L L

434 K Street NW

Washington DC 20001

202.234.5601

hemphillfinearts.com

 Exhibition: "Big Color" at Jo Fleming Contemporary Art

A Celebration of Color and Movement

Barbara Januszkiewicz is no stranger to the transformative power of color. As a contemporary artist deeply influenced by the Washington Color School, her work expands the conversation of color abstraction, layering rich, translucent hues to create movement, depth, and emotion on canvas.

Her latest exhibition, "Big Color," opening at Jo Fleming Contemporary Art, is a bold statement in large-scale abstraction. Through fluid, luminous compositions, Barbara merges color fields with gestural forms, creating an immersive experience that invites viewers to feel color in a way that goes beyond traditional painting.

Color as a Language

Barbara’s technique involves staining unprimed canvas, allowing color to soak deep into the fibers, much like watercolor on paper—creating a luminous, almost ethereal effect. Her paintings breathe and flow, echoing the rhythms of nature, music, and emotion.

Her work has been featured in museums, embassies, and private collections, and this new body of work continues her lifelong dialogue with color, light, and form.

Why You Should See "Big Color"

For collectors, art lovers, and those who simply appreciate the emotional impact of color, this is an exhibition not to be missed. The artist reception on March 8 will provide a unique opportunity to hear Barbara speak about her work, her influences, and how she continues to push the boundaries of abstraction.

More Info: https://www.joflemingcontemporaryart.com/exhibitions

From Yelp:

We're officially hiring a new community intern for later 2025 when Riley's time comes to an unwanted end, and we're on the hunt for another perfect fit. As Elites, you know a ton of talented people so we're tapping on you to help us spread the word on this five-star opportunity. If you know someone that is the best at throwing parties, loves all things local, and has brand social media experience, have them apply at the link below.

Apply here.

Beware of this scam pretending to come from the well-known auction house:

From: Clientservicesnewyorkphillips  - clientservicesnewyorkphillips@gmail.com -

Subject: PHILLIPS AUCTION PROPOSAL

Greetings! We hope this message finds you well. This is the Phillips Auction Team reaching out to express our admiration for your exceptional artwork. Over time, we have closely followed your creative journey and have been thoroughly impressed by the depth and quality of your work. 

After careful consideration, we are excited to extend an invitation to collaborate with you. We believe your unique artistic vision aligns seamlessly with our mission to showcase and celebrate outstanding talent. 

To learn more about Phillips Auction House, please visit our website [https://www.phillips.com/

You may also explore our social media pages for further insights into our initiatives and community. Once you’ve had the opportunity to review our platform, we would be delighted to hear your thoughts and discuss how we can work together.

We look forward to your response and the possibility of collaborating with you.

[Phillips Auction Team]

Coming to Links Bridge Vineyards:

Arlington abstract painter and instructor Bryan Jernigan came to the DMV from rural Oklahoma more than 35 years ago and his upcoming solo show called “Sound of Line” will debut at Links Bridge Vineyards in Thurmont, MD on Saturday, April 5, 2025.

“When I came to Washington, D.C. to live, it wasn’t my first time, but I had only visited once before,” Jernigan said. “Like most young people, I planned to make my name professionally and move on or move back to where I was raised. But D.C. had other plans for me, I guess. Instead, I saw most of my friends peel off and return home, taking back a little piece of urbanity with them. Unlike them, I absorbed the realities of living here – internalizing the highs and lows, taking in the triumphs and suffering through the realities of living the city life, digging in and getting to learn about cultures separate and apart from my own and enduring the everyday realities of things as mundane as seemingly unending traffic commutes.”

Jernigan said coming from the country but choosing to live a city life shaped how he sees the world and how he responds to it in his art.

“In this series – that comprises more than 50 original works on paper and wood panel – the things I noticed most were lines; how they keep us connected, but at the same time how tenuous they are,” he said. “They are less about real things and more about my responses to the things I see - power lines that carry communications from all who use them or lines in pavement that show the age of some parts of the city. The pieces have a gritty feel to them, which is another aspect of living in the city, this juxtaposition between the dirty and the pristine.”

The pieces that span from 12-inch to 3-feet squares include expanses of vibrating actions, scratchy marks and calm respites of undulating non-colors punctuated by bold vibrancy.

“Living in a city is often chaotic, but we do our best to control that craziness in our daily lives. I want the pieces to feel like the embodiment of city living. An homage, so to speak,” Jernigan said. “I hope they are exciting and make viewers feel something akin to a car crash on an otherwise uneventful commute. They are real and they are palpable, and I hope they will resonate with others who live here. We are all different – different backgrounds, different ethnicities – but we all share the same experience of living here and navigating it and getting by.”

Jernigan’s pieces have already received critical acclaim. One of them was chosen by juror Jeffrey W. Allison, the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts (VMFA) for the McGuffey Art Center’s Mid Atlantic Juried Exhibition in Charlottesville.

“I’d say one of the artist’s worst fears is that they will muster up the courage to be vulnerable enough to create a body of work and then it gets a bad reception,” the artist said. “So, I entered a show with one of them who offered a well-regarded juror I knew it would be a good test. Happily, I was rewarded by having him choose my piece to include in the show. That little test helped me realize I was on the right track with this series.”

Links Bridge Vineyards will host an opening reception with an artist talk between 1 and 3PM on Saturday, April 5 and the show runs until Friday, April 27. See all the works online at www.bryanjernigan.com.

The halcyon years of the Washington Color School, over half a century ago, still represent the deepest fine arts footprint ever made by our (then) regional artists, elevating most of them to (now) a global presence.

There's currently a terrific show at Hemphill showcasing the works of two immensely talented artists: Leon Berkowitz and Wayson Jones.

Jones' work first came to my attention via my good friend Lou Stovall, when Stovall selected Jones in 2010 for the October Members Show in Hillyer Art Space.

I've been following Jones' work for many years, and in 2018 I wrote about his participation in that year's Superfine Art Fair and highlighted the "refined works of Wayson R. Jones, whose technique and presentation just keeps getting better and sharper! This is a key DMV artist deserving of more attention by the curatorial cabal of our area." And two years ago I was in the audience when Jones, who in 2022 was Montgomery College’s Visual and Performing Arts Department's Artist in Residence, presented a really good Artist Talk one September day. 

It has been said that "Leon was a character, a character that stood alone..." 

In "An Interview with Gene Davis" by Walter Hopps, we learn that the The Washington Color School "members" did not feel much camaraderie, with each other, and perhaps even a sense of jealousy? George Hemphill notes that:

There are stories of Davis' extreme annoyance at the Corcoran students gathering in groups and sitting before Berkowitz's paintings while leaving his work absent of attention. Berkowitz's paintings sold as well, possibly better than others. His peers' work may garner greater investment returns today, but none have as much universal and growing appeal.

Leon Berkowitz (Photo by Paul Feinberg - Courtesy of Hemphill)

This is an important show which deserves attention not only because of the historical importance of Berkowitz, but also and equally important, a new and powerful footprint by a superbly talented contemporary artist who clearly represents a 21st century extension of those halcyon days. 

Leon Berkowitz in his studio (Photo by Paul Feinberg - Courtesy of Hemphill)

The show runs through April 26, 2025.

H E M P H I L L

434 K Street NW

Washington DC 20001

202.234.5601

hemphillfinearts.com

 Exhibition: "Big Color" at Jo Fleming Contemporary Art

A Celebration of Color and Movement

Barbara Januszkiewicz is no stranger to the transformative power of color. As a contemporary artist deeply influenced by the Washington Color School, her work expands the conversation of color abstraction, layering rich, translucent hues to create movement, depth, and emotion on canvas.

Her latest exhibition, "Big Color," opening at Jo Fleming Contemporary Art, is a bold statement in large-scale abstraction. Through fluid, luminous compositions, Barbara merges color fields with gestural forms, creating an immersive experience that invites viewers to feel color in a way that goes beyond traditional painting.

Color as a Language

Barbara’s technique involves staining unprimed canvas, allowing color to soak deep into the fibers, much like watercolor on paper—creating a luminous, almost ethereal effect. Her paintings breathe and flow, echoing the rhythms of nature, music, and emotion.

Her work has been featured in museums, embassies, and private collections, and this new body of work continues her lifelong dialogue with color, light, and form.

Why You Should See "Big Color"

For collectors, art lovers, and those who simply appreciate the emotional impact of color, this is an exhibition not to be missed. The artist reception on March 8 will provide a unique opportunity to hear Barbara speak about her work, her influences, and how she continues to push the boundaries of abstraction.

More Info: https://www.joflemingcontemporaryart.com/exhibitions

From Yelp:

We're officially hiring a new community intern for later 2025 when Riley's time comes to an unwanted end, and we're on the hunt for another perfect fit. As Elites, you know a ton of talented people so we're tapping on you to help us spread the word on this five-star opportunity. If you know someone that is the best at throwing parties, loves all things local, and has brand social media experience, have them apply at the link below.

Apply here.

Beware of this scam pretending to come from the well-known auction house:

From: Clientservicesnewyorkphillips  - clientservicesnewyorkphillips@gmail.com -

Subject: PHILLIPS AUCTION PROPOSAL

Greetings! We hope this message finds you well. This is the Phillips Auction Team reaching out to express our admiration for your exceptional artwork. Over time, we have closely followed your creative journey and have been thoroughly impressed by the depth and quality of your work. 

After careful consideration, we are excited to extend an invitation to collaborate with you. We believe your unique artistic vision aligns seamlessly with our mission to showcase and celebrate outstanding talent. 

To learn more about Phillips Auction House, please visit our website [https://www.phillips.com/

You may also explore our social media pages for further insights into our initiatives and community. Once you’ve had the opportunity to review our platform, we would be delighted to hear your thoughts and discuss how we can work together.

We look forward to your response and the possibility of collaborating with you.

[Phillips Auction Team]

Coming to Links Bridge Vineyards:

Arlington abstract painter and instructor Bryan Jernigan came to the DMV from rural Oklahoma more than 35 years ago and his upcoming solo show called “Sound of Line” will debut at Links Bridge Vineyards in Thurmont, MD on Saturday, April 5, 2025.

“When I came to Washington, D.C. to live, it wasn’t my first time, but I had only visited once before,” Jernigan said. “Like most young people, I planned to make my name professionally and move on or move back to where I was raised. But D.C. had other plans for me, I guess. Instead, I saw most of my friends peel off and return home, taking back a little piece of urbanity with them. Unlike them, I absorbed the realities of living here – internalizing the highs and lows, taking in the triumphs and suffering through the realities of living the city life, digging in and getting to learn about cultures separate and apart from my own and enduring the everyday realities of things as mundane as seemingly unending traffic commutes.”

Jernigan said coming from the country but choosing to live a city life shaped how he sees the world and how he responds to it in his art.

“In this series – that comprises more than 50 original works on paper and wood panel – the things I noticed most were lines; how they keep us connected, but at the same time how tenuous they are,” he said. “They are less about real things and more about my responses to the things I see - power lines that carry communications from all who use them or lines in pavement that show the age of some parts of the city. The pieces have a gritty feel to them, which is another aspect of living in the city, this juxtaposition between the dirty and the pristine.”

The pieces that span from 12-inch to 3-feet squares include expanses of vibrating actions, scratchy marks and calm respites of undulating non-colors punctuated by bold vibrancy.

“Living in a city is often chaotic, but we do our best to control that craziness in our daily lives. I want the pieces to feel like the embodiment of city living. An homage, so to speak,” Jernigan said. “I hope they are exciting and make viewers feel something akin to a car crash on an otherwise uneventful commute. They are real and they are palpable, and I hope they will resonate with others who live here. We are all different – different backgrounds, different ethnicities – but we all share the same experience of living here and navigating it and getting by.”

Jernigan’s pieces have already received critical acclaim. One of them was chosen by juror Jeffrey W. Allison, the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts (VMFA) for the McGuffey Art Center’s Mid Atlantic Juried Exhibition in Charlottesville.

“I’d say one of the artist’s worst fears is that they will muster up the courage to be vulnerable enough to create a body of work and then it gets a bad reception,” the artist said. “So, I entered a show with one of them who offered a well-regarded juror I knew it would be a good test. Happily, I was rewarded by having him choose my piece to include in the show. That little test helped me realize I was on the right track with this series.”

Links Bridge Vineyards will host an opening reception with an artist talk between 1 and 3PM on Saturday, April 5 and the show runs until Friday, April 27. See all the works online at www.bryanjernigan.com.

The halcyon years of the Washington Color School, over half a century ago, still represent the deepest fine arts footprint ever made by our (then) regional artists, elevating most of them to (now) a global presence.

There's currently a terrific show at Hemphill showcasing the works of two immensely talented artists: Leon Berkowitz and Wayson Jones.

Jones' work first came to my attention via my good friend Lou Stovall, when Stovall selected Jones in 2010 for the October Members Show in Hillyer Art Space.

I've been following Jones' work for many years, and in 2018 I wrote about his participation in that year's Superfine Art Fair and highlighted the "refined works of Wayson R. Jones, whose technique and presentation just keeps getting better and sharper! This is a key DMV artist deserving of more attention by the curatorial cabal of our area." And two years ago I was in the audience when Jones, who in 2022 was Montgomery College’s Visual and Performing Arts Department's Artist in Residence, presented a really good Artist Talk one September day. 

It has been said that "Leon was a character, a character that stood alone..." 

In "An Interview with Gene Davis" by Walter Hopps, we learn that the The Washington Color School "members" did not feel much camaraderie, with each other, and perhaps even a sense of jealousy? George Hemphill notes that:

There are stories of Davis' extreme annoyance at the Corcoran students gathering in groups and sitting before Berkowitz's paintings while leaving his work absent of attention. Berkowitz's paintings sold as well, possibly better than others. His peers' work may garner greater investment returns today, but none have as much universal and growing appeal.

Leon Berkowitz (Photo by Paul Feinberg - Courtesy of Hemphill)

This is an important show which deserves attention not only because of the historical importance of Berkowitz, but also and equally important, a new and powerful footprint by a superbly talented contemporary artist who clearly represents a 21st century extension of those halcyon days. 

Leon Berkowitz in his studio (Photo by Paul Feinberg - Courtesy of Hemphill)

The show runs through April 26, 2025.

H E M P H I L L

434 K Street NW

Washington DC 20001

202.234.5601

hemphillfinearts.com

 Exhibition: "Big Color" at Jo Fleming Contemporary Art

A Celebration of Color and Movement

Barbara Januszkiewicz is no stranger to the transformative power of color. As a contemporary artist deeply influenced by the Washington Color School, her work expands the conversation of color abstraction, layering rich, translucent hues to create movement, depth, and emotion on canvas.

Her latest exhibition, "Big Color," opening at Jo Fleming Contemporary Art, is a bold statement in large-scale abstraction. Through fluid, luminous compositions, Barbara merges color fields with gestural forms, creating an immersive experience that invites viewers to feel color in a way that goes beyond traditional painting.

Color as a Language

Barbara’s technique involves staining unprimed canvas, allowing color to soak deep into the fibers, much like watercolor on paper—creating a luminous, almost ethereal effect. Her paintings breathe and flow, echoing the rhythms of nature, music, and emotion.

Her work has been featured in museums, embassies, and private collections, and this new body of work continues her lifelong dialogue with color, light, and form.

Why You Should See "Big Color"

For collectors, art lovers, and those who simply appreciate the emotional impact of color, this is an exhibition not to be missed. The artist reception on March 8 will provide a unique opportunity to hear Barbara speak about her work, her influences, and how she continues to push the boundaries of abstraction.

More Info: https://www.joflemingcontemporaryart.com/exhibitions

From Yelp:

We're officially hiring a new community intern for later 2025 when Riley's time comes to an unwanted end, and we're on the hunt for another perfect fit. As Elites, you know a ton of talented people so we're tapping on you to help us spread the word on this five-star opportunity. If you know someone that is the best at throwing parties, loves all things local, and has brand social media experience, have them apply at the link below.

Apply here.

Beware of this scam pretending to come from the well-known auction house:

From: Clientservicesnewyorkphillips  - clientservicesnewyorkphillips@gmail.com -

Subject: PHILLIPS AUCTION PROPOSAL

Greetings! We hope this message finds you well. This is the Phillips Auction Team reaching out to express our admiration for your exceptional artwork. Over time, we have closely followed your creative journey and have been thoroughly impressed by the depth and quality of your work. 

After careful consideration, we are excited to extend an invitation to collaborate with you. We believe your unique artistic vision aligns seamlessly with our mission to showcase and celebrate outstanding talent. 

To learn more about Phillips Auction House, please visit our website [https://www.phillips.com/

You may also explore our social media pages for further insights into our initiatives and community. Once you’ve had the opportunity to review our platform, we would be delighted to hear your thoughts and discuss how we can work together.

We look forward to your response and the possibility of collaborating with you.

[Phillips Auction Team]

Coming to Links Bridge Vineyards:

Arlington abstract painter and instructor Bryan Jernigan came to the DMV from rural Oklahoma more than 35 years ago and his upcoming solo show called “Sound of Line” will debut at Links Bridge Vineyards in Thurmont, MD on Saturday, April 5, 2025.

“When I came to Washington, D.C. to live, it wasn’t my first time, but I had only visited once before,” Jernigan said. “Like most young people, I planned to make my name professionally and move on or move back to where I was raised. But D.C. had other plans for me, I guess. Instead, I saw most of my friends peel off and return home, taking back a little piece of urbanity with them. Unlike them, I absorbed the realities of living here – internalizing the highs and lows, taking in the triumphs and suffering through the realities of living the city life, digging in and getting to learn about cultures separate and apart from my own and enduring the everyday realities of things as mundane as seemingly unending traffic commutes.”

Jernigan said coming from the country but choosing to live a city life shaped how he sees the world and how he responds to it in his art.

“In this series – that comprises more than 50 original works on paper and wood panel – the things I noticed most were lines; how they keep us connected, but at the same time how tenuous they are,” he said. “They are less about real things and more about my responses to the things I see - power lines that carry communications from all who use them or lines in pavement that show the age of some parts of the city. The pieces have a gritty feel to them, which is another aspect of living in the city, this juxtaposition between the dirty and the pristine.”

The pieces that span from 12-inch to 3-feet squares include expanses of vibrating actions, scratchy marks and calm respites of undulating non-colors punctuated by bold vibrancy.

“Living in a city is often chaotic, but we do our best to control that craziness in our daily lives. I want the pieces to feel like the embodiment of city living. An homage, so to speak,” Jernigan said. “I hope they are exciting and make viewers feel something akin to a car crash on an otherwise uneventful commute. They are real and they are palpable, and I hope they will resonate with others who live here. We are all different – different backgrounds, different ethnicities – but we all share the same experience of living here and navigating it and getting by.”

Jernigan’s pieces have already received critical acclaim. One of them was chosen by juror Jeffrey W. Allison, the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts (VMFA) for the McGuffey Art Center’s Mid Atlantic Juried Exhibition in Charlottesville.

“I’d say one of the artist’s worst fears is that they will muster up the courage to be vulnerable enough to create a body of work and then it gets a bad reception,” the artist said. “So, I entered a show with one of them who offered a well-regarded juror I knew it would be a good test. Happily, I was rewarded by having him choose my piece to include in the show. That little test helped me realize I was on the right track with this series.”

Links Bridge Vineyards will host an opening reception with an artist talk between 1 and 3PM on Saturday, April 5 and the show runs until Friday, April 27. See all the works online at www.bryanjernigan.com.

The halcyon years of the Washington Color School, over half a century ago, still represent the deepest fine arts footprint ever made by our (then) regional artists, elevating most of them to (now) a global presence.

There's currently a terrific show at Hemphill showcasing the works of two immensely talented artists: Leon Berkowitz and Wayson Jones.

Jones' work first came to my attention via my good friend Lou Stovall, when Stovall selected Jones in 2010 for the October Members Show in Hillyer Art Space.

I've been following Jones' work for many years, and in 2018 I wrote about his participation in that year's Superfine Art Fair and highlighted the "refined works of Wayson R. Jones, whose technique and presentation just keeps getting better and sharper! This is a key DMV artist deserving of more attention by the curatorial cabal of our area." And two years ago I was in the audience when Jones, who in 2022 was Montgomery College’s Visual and Performing Arts Department's Artist in Residence, presented a really good Artist Talk one September day. 

It has been said that "Leon was a character, a character that stood alone..." 

In "An Interview with Gene Davis" by Walter Hopps, we learn that the The Washington Color School "members" did not feel much camaraderie, with each other, and perhaps even a sense of jealousy? George Hemphill notes that:

There are stories of Davis' extreme annoyance at the Corcoran students gathering in groups and sitting before Berkowitz's paintings while leaving his work absent of attention. Berkowitz's paintings sold as well, possibly better than others. His peers' work may garner greater investment returns today, but none have as much universal and growing appeal.

Leon Berkowitz (Photo by Paul Feinberg - Courtesy of Hemphill)

This is an important show which deserves attention not only because of the historical importance of Berkowitz, but also and equally important, a new and powerful footprint by a superbly talented contemporary artist who clearly represents a 21st century extension of those halcyon days. 

Leon Berkowitz in his studio (Photo by Paul Feinberg - Courtesy of Hemphill)

The show runs through April 26, 2025.

H E M P H I L L

434 K Street NW

Washington DC 20001

202.234.5601

hemphillfinearts.com

 Exhibition: "Big Color" at Jo Fleming Contemporary Art

A Celebration of Color and Movement

Barbara Januszkiewicz is no stranger to the transformative power of color. As a contemporary artist deeply influenced by the Washington Color School, her work expands the conversation of color abstraction, layering rich, translucent hues to create movement, depth, and emotion on canvas.

Her latest exhibition, "Big Color," opening at Jo Fleming Contemporary Art, is a bold statement in large-scale abstraction. Through fluid, luminous compositions, Barbara merges color fields with gestural forms, creating an immersive experience that invites viewers to feel color in a way that goes beyond traditional painting.

Color as a Language

Barbara’s technique involves staining unprimed canvas, allowing color to soak deep into the fibers, much like watercolor on paper—creating a luminous, almost ethereal effect. Her paintings breathe and flow, echoing the rhythms of nature, music, and emotion.

Her work has been featured in museums, embassies, and private collections, and this new body of work continues her lifelong dialogue with color, light, and form.

Why You Should See "Big Color"

For collectors, art lovers, and those who simply appreciate the emotional impact of color, this is an exhibition not to be missed. The artist reception on March 8 will provide a unique opportunity to hear Barbara speak about her work, her influences, and how she continues to push the boundaries of abstraction.

More Info: https://www.joflemingcontemporaryart.com/exhibitions

From Yelp:

We're officially hiring a new community intern for later 2025 when Riley's time comes to an unwanted end, and we're on the hunt for another perfect fit. As Elites, you know a ton of talented people so we're tapping on you to help us spread the word on this five-star opportunity. If you know someone that is the best at throwing parties, loves all things local, and has brand social media experience, have them apply at the link below.

Apply here.

Beware of this scam pretending to come from the well-known auction house:

From: Clientservicesnewyorkphillips  - clientservicesnewyorkphillips@gmail.com -

Subject: PHILLIPS AUCTION PROPOSAL

Greetings! We hope this message finds you well. This is the Phillips Auction Team reaching out to express our admiration for your exceptional artwork. Over time, we have closely followed your creative journey and have been thoroughly impressed by the depth and quality of your work. 

After careful consideration, we are excited to extend an invitation to collaborate with you. We believe your unique artistic vision aligns seamlessly with our mission to showcase and celebrate outstanding talent. 

To learn more about Phillips Auction House, please visit our website [https://www.phillips.com/

You may also explore our social media pages for further insights into our initiatives and community. Once you’ve had the opportunity to review our platform, we would be delighted to hear your thoughts and discuss how we can work together.

We look forward to your response and the possibility of collaborating with you.

[Phillips Auction Team]

Coming to Links Bridge Vineyards:

Arlington abstract painter and instructor Bryan Jernigan came to the DMV from rural Oklahoma more than 35 years ago and his upcoming solo show called “Sound of Line” will debut at Links Bridge Vineyards in Thurmont, MD on Saturday, April 5, 2025.

“When I came to Washington, D.C. to live, it wasn’t my first time, but I had only visited once before,” Jernigan said. “Like most young people, I planned to make my name professionally and move on or move back to where I was raised. But D.C. had other plans for me, I guess. Instead, I saw most of my friends peel off and return home, taking back a little piece of urbanity with them. Unlike them, I absorbed the realities of living here – internalizing the highs and lows, taking in the triumphs and suffering through the realities of living the city life, digging in and getting to learn about cultures separate and apart from my own and enduring the everyday realities of things as mundane as seemingly unending traffic commutes.”

Jernigan said coming from the country but choosing to live a city life shaped how he sees the world and how he responds to it in his art.

“In this series – that comprises more than 50 original works on paper and wood panel – the things I noticed most were lines; how they keep us connected, but at the same time how tenuous they are,” he said. “They are less about real things and more about my responses to the things I see - power lines that carry communications from all who use them or lines in pavement that show the age of some parts of the city. The pieces have a gritty feel to them, which is another aspect of living in the city, this juxtaposition between the dirty and the pristine.”

The pieces that span from 12-inch to 3-feet squares include expanses of vibrating actions, scratchy marks and calm respites of undulating non-colors punctuated by bold vibrancy.

“Living in a city is often chaotic, but we do our best to control that craziness in our daily lives. I want the pieces to feel like the embodiment of city living. An homage, so to speak,” Jernigan said. “I hope they are exciting and make viewers feel something akin to a car crash on an otherwise uneventful commute. They are real and they are palpable, and I hope they will resonate with others who live here. We are all different – different backgrounds, different ethnicities – but we all share the same experience of living here and navigating it and getting by.”

Jernigan’s pieces have already received critical acclaim. One of them was chosen by juror Jeffrey W. Allison, the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts (VMFA) for the McGuffey Art Center’s Mid Atlantic Juried Exhibition in Charlottesville.

“I’d say one of the artist’s worst fears is that they will muster up the courage to be vulnerable enough to create a body of work and then it gets a bad reception,” the artist said. “So, I entered a show with one of them who offered a well-regarded juror I knew it would be a good test. Happily, I was rewarded by having him choose my piece to include in the show. That little test helped me realize I was on the right track with this series.”

Links Bridge Vineyards will host an opening reception with an artist talk between 1 and 3PM on Saturday, April 5 and the show runs until Friday, April 27. See all the works online at www.bryanjernigan.com.

The halcyon years of the Washington Color School, over half a century ago, still represent the deepest fine arts footprint ever made by our (then) regional artists, elevating most of them to (now) a global presence.

There's currently a terrific show at Hemphill showcasing the works of two immensely talented artists: Leon Berkowitz and Wayson Jones.

Jones' work first came to my attention via my good friend Lou Stovall, when Stovall selected Jones in 2010 for the October Members Show in Hillyer Art Space.

I've been following Jones' work for many years, and in 2018 I wrote about his participation in that year's Superfine Art Fair and highlighted the "refined works of Wayson R. Jones, whose technique and presentation just keeps getting better and sharper! This is a key DMV artist deserving of more attention by the curatorial cabal of our area." And two years ago I was in the audience when Jones, who in 2022 was Montgomery College’s Visual and Performing Arts Department's Artist in Residence, presented a really good Artist Talk one September day. 

It has been said that "Leon was a character, a character that stood alone..." 

In "An Interview with Gene Davis" by Walter Hopps, we learn that the The Washington Color School "members" did not feel much camaraderie, with each other, and perhaps even a sense of jealousy? George Hemphill notes that:

There are stories of Davis' extreme annoyance at the Corcoran students gathering in groups and sitting before Berkowitz's paintings while leaving his work absent of attention. Berkowitz's paintings sold as well, possibly better than others. His peers' work may garner greater investment returns today, but none have as much universal and growing appeal.

Leon Berkowitz (Photo by Paul Feinberg - Courtesy of Hemphill)

This is an important show which deserves attention not only because of the historical importance of Berkowitz, but also and equally important, a new and powerful footprint by a superbly talented contemporary artist who clearly represents a 21st century extension of those halcyon days. 

Leon Berkowitz in his studio (Photo by Paul Feinberg - Courtesy of Hemphill)

The show runs through April 26, 2025.

H E M P H I L L

434 K Street NW

Washington DC 20001

202.234.5601

hemphillfinearts.com

 Exhibition: "Big Color" at Jo Fleming Contemporary Art

A Celebration of Color and Movement

Barbara Januszkiewicz is no stranger to the transformative power of color. As a contemporary artist deeply influenced by the Washington Color School, her work expands the conversation of color abstraction, layering rich, translucent hues to create movement, depth, and emotion on canvas.

Her latest exhibition, "Big Color," opening at Jo Fleming Contemporary Art, is a bold statement in large-scale abstraction. Through fluid, luminous compositions, Barbara merges color fields with gestural forms, creating an immersive experience that invites viewers to feel color in a way that goes beyond traditional painting.

Color as a Language

Barbara’s technique involves staining unprimed canvas, allowing color to soak deep into the fibers, much like watercolor on paper—creating a luminous, almost ethereal effect. Her paintings breathe and flow, echoing the rhythms of nature, music, and emotion.

Her work has been featured in museums, embassies, and private collections, and this new body of work continues her lifelong dialogue with color, light, and form.

Why You Should See "Big Color"

For collectors, art lovers, and those who simply appreciate the emotional impact of color, this is an exhibition not to be missed. The artist reception on March 8 will provide a unique opportunity to hear Barbara speak about her work, her influences, and how she continues to push the boundaries of abstraction.

More Info: https://www.joflemingcontemporaryart.com/exhibitions

From Yelp:

We're officially hiring a new community intern for later 2025 when Riley's time comes to an unwanted end, and we're on the hunt for another perfect fit. As Elites, you know a ton of talented people so we're tapping on you to help us spread the word on this five-star opportunity. If you know someone that is the best at throwing parties, loves all things local, and has brand social media experience, have them apply at the link below.

Apply here.

Beware of this scam pretending to come from the well-known auction house:

From: Clientservicesnewyorkphillips  - clientservicesnewyorkphillips@gmail.com -

Subject: PHILLIPS AUCTION PROPOSAL

Greetings! We hope this message finds you well. This is the Phillips Auction Team reaching out to express our admiration for your exceptional artwork. Over time, we have closely followed your creative journey and have been thoroughly impressed by the depth and quality of your work. 

After careful consideration, we are excited to extend an invitation to collaborate with you. We believe your unique artistic vision aligns seamlessly with our mission to showcase and celebrate outstanding talent. 

To learn more about Phillips Auction House, please visit our website [https://www.phillips.com/

You may also explore our social media pages for further insights into our initiatives and community. Once you’ve had the opportunity to review our platform, we would be delighted to hear your thoughts and discuss how we can work together.

We look forward to your response and the possibility of collaborating with you.

[Phillips Auction Team]

Coming to Links Bridge Vineyards:

Arlington abstract painter and instructor Bryan Jernigan came to the DMV from rural Oklahoma more than 35 years ago and his upcoming solo show called “Sound of Line” will debut at Links Bridge Vineyards in Thurmont, MD on Saturday, April 5, 2025.

“When I came to Washington, D.C. to live, it wasn’t my first time, but I had only visited once before,” Jernigan said. “Like most young people, I planned to make my name professionally and move on or move back to where I was raised. But D.C. had other plans for me, I guess. Instead, I saw most of my friends peel off and return home, taking back a little piece of urbanity with them. Unlike them, I absorbed the realities of living here – internalizing the highs and lows, taking in the triumphs and suffering through the realities of living the city life, digging in and getting to learn about cultures separate and apart from my own and enduring the everyday realities of things as mundane as seemingly unending traffic commutes.”

Jernigan said coming from the country but choosing to live a city life shaped how he sees the world and how he responds to it in his art.

“In this series – that comprises more than 50 original works on paper and wood panel – the things I noticed most were lines; how they keep us connected, but at the same time how tenuous they are,” he said. “They are less about real things and more about my responses to the things I see - power lines that carry communications from all who use them or lines in pavement that show the age of some parts of the city. The pieces have a gritty feel to them, which is another aspect of living in the city, this juxtaposition between the dirty and the pristine.”

The pieces that span from 12-inch to 3-feet squares include expanses of vibrating actions, scratchy marks and calm respites of undulating non-colors punctuated by bold vibrancy.

“Living in a city is often chaotic, but we do our best to control that craziness in our daily lives. I want the pieces to feel like the embodiment of city living. An homage, so to speak,” Jernigan said. “I hope they are exciting and make viewers feel something akin to a car crash on an otherwise uneventful commute. They are real and they are palpable, and I hope they will resonate with others who live here. We are all different – different backgrounds, different ethnicities – but we all share the same experience of living here and navigating it and getting by.”

Jernigan’s pieces have already received critical acclaim. One of them was chosen by juror Jeffrey W. Allison, the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts (VMFA) for the McGuffey Art Center’s Mid Atlantic Juried Exhibition in Charlottesville.

“I’d say one of the artist’s worst fears is that they will muster up the courage to be vulnerable enough to create a body of work and then it gets a bad reception,” the artist said. “So, I entered a show with one of them who offered a well-regarded juror I knew it would be a good test. Happily, I was rewarded by having him choose my piece to include in the show. That little test helped me realize I was on the right track with this series.”

Links Bridge Vineyards will host an opening reception with an artist talk between 1 and 3PM on Saturday, April 5 and the show runs until Friday, April 27. See all the works online at www.bryanjernigan.com.

The halcyon years of the Washington Color School, over half a century ago, still represent the deepest fine arts footprint ever made by our (then) regional artists, elevating most of them to (now) a global presence.

There's currently a terrific show at Hemphill showcasing the works of two immensely talented artists: Leon Berkowitz and Wayson Jones.

Jones' work first came to my attention via my good friend Lou Stovall, when Stovall selected Jones in 2010 for the October Members Show in Hillyer Art Space.

I've been following Jones' work for many years, and in 2018 I wrote about his participation in that year's Superfine Art Fair and highlighted the "refined works of Wayson R. Jones, whose technique and presentation just keeps getting better and sharper! This is a key DMV artist deserving of more attention by the curatorial cabal of our area." And two years ago I was in the audience when Jones, who in 2022 was Montgomery College’s Visual and Performing Arts Department's Artist in Residence, presented a really good Artist Talk one September day. 

It has been said that "Leon was a character, a character that stood alone..." 

In "An Interview with Gene Davis" by Walter Hopps, we learn that the The Washington Color School "members" did not feel much camaraderie, with each other, and perhaps even a sense of jealousy? George Hemphill notes that:

There are stories of Davis' extreme annoyance at the Corcoran students gathering in groups and sitting before Berkowitz's paintings while leaving his work absent of attention. Berkowitz's paintings sold as well, possibly better than others. His peers' work may garner greater investment returns today, but none have as much universal and growing appeal.

Leon Berkowitz (Photo by Paul Feinberg - Courtesy of Hemphill)

This is an important show which deserves attention not only because of the historical importance of Berkowitz, but also and equally important, a new and powerful footprint by a superbly talented contemporary artist who clearly represents a 21st century extension of those halcyon days. 

Leon Berkowitz in his studio (Photo by Paul Feinberg - Courtesy of Hemphill)

The show runs through April 26, 2025.

H E M P H I L L

434 K Street NW

Washington DC 20001

202.234.5601

hemphillfinearts.com

 Exhibition: "Big Color" at Jo Fleming Contemporary Art

A Celebration of Color and Movement

Barbara Januszkiewicz is no stranger to the transformative power of color. As a contemporary artist deeply influenced by the Washington Color School, her work expands the conversation of color abstraction, layering rich, translucent hues to create movement, depth, and emotion on canvas.

Her latest exhibition, "Big Color," opening at Jo Fleming Contemporary Art, is a bold statement in large-scale abstraction. Through fluid, luminous compositions, Barbara merges color fields with gestural forms, creating an immersive experience that invites viewers to feel color in a way that goes beyond traditional painting.

Color as a Language

Barbara’s technique involves staining unprimed canvas, allowing color to soak deep into the fibers, much like watercolor on paper—creating a luminous, almost ethereal effect. Her paintings breathe and flow, echoing the rhythms of nature, music, and emotion.

Her work has been featured in museums, embassies, and private collections, and this new body of work continues her lifelong dialogue with color, light, and form.

Why You Should See "Big Color"

For collectors, art lovers, and those who simply appreciate the emotional impact of color, this is an exhibition not to be missed. The artist reception on March 8 will provide a unique opportunity to hear Barbara speak about her work, her influences, and how she continues to push the boundaries of abstraction.

More Info: https://www.joflemingcontemporaryart.com/exhibitions

From Yelp:

We're officially hiring a new community intern for later 2025 when Riley's time comes to an unwanted end, and we're on the hunt for another perfect fit. As Elites, you know a ton of talented people so we're tapping on you to help us spread the word on this five-star opportunity. If you know someone that is the best at throwing parties, loves all things local, and has brand social media experience, have them apply at the link below.

Apply here.

Beware of this scam pretending to come from the well-known auction house:

From: Clientservicesnewyorkphillips  - clientservicesnewyorkphillips@gmail.com -

Subject: PHILLIPS AUCTION PROPOSAL

Greetings! We hope this message finds you well. This is the Phillips Auction Team reaching out to express our admiration for your exceptional artwork. Over time, we have closely followed your creative journey and have been thoroughly impressed by the depth and quality of your work. 

After careful consideration, we are excited to extend an invitation to collaborate with you. We believe your unique artistic vision aligns seamlessly with our mission to showcase and celebrate outstanding talent. 

To learn more about Phillips Auction House, please visit our website [https://www.phillips.com/

You may also explore our social media pages for further insights into our initiatives and community. Once you’ve had the opportunity to review our platform, we would be delighted to hear your thoughts and discuss how we can work together.

We look forward to your response and the possibility of collaborating with you.

[Phillips Auction Team]

Coming to Links Bridge Vineyards:

Arlington abstract painter and instructor Bryan Jernigan came to the DMV from rural Oklahoma more than 35 years ago and his upcoming solo show called “Sound of Line” will debut at Links Bridge Vineyards in Thurmont, MD on Saturday, April 5, 2025.

“When I came to Washington, D.C. to live, it wasn’t my first time, but I had only visited once before,” Jernigan said. “Like most young people, I planned to make my name professionally and move on or move back to where I was raised. But D.C. had other plans for me, I guess. Instead, I saw most of my friends peel off and return home, taking back a little piece of urbanity with them. Unlike them, I absorbed the realities of living here – internalizing the highs and lows, taking in the triumphs and suffering through the realities of living the city life, digging in and getting to learn about cultures separate and apart from my own and enduring the everyday realities of things as mundane as seemingly unending traffic commutes.”

Jernigan said coming from the country but choosing to live a city life shaped how he sees the world and how he responds to it in his art.

“In this series – that comprises more than 50 original works on paper and wood panel – the things I noticed most were lines; how they keep us connected, but at the same time how tenuous they are,” he said. “They are less about real things and more about my responses to the things I see - power lines that carry communications from all who use them or lines in pavement that show the age of some parts of the city. The pieces have a gritty feel to them, which is another aspect of living in the city, this juxtaposition between the dirty and the pristine.”

The pieces that span from 12-inch to 3-feet squares include expanses of vibrating actions, scratchy marks and calm respites of undulating non-colors punctuated by bold vibrancy.

“Living in a city is often chaotic, but we do our best to control that craziness in our daily lives. I want the pieces to feel like the embodiment of city living. An homage, so to speak,” Jernigan said. “I hope they are exciting and make viewers feel something akin to a car crash on an otherwise uneventful commute. They are real and they are palpable, and I hope they will resonate with others who live here. We are all different – different backgrounds, different ethnicities – but we all share the same experience of living here and navigating it and getting by.”

Jernigan’s pieces have already received critical acclaim. One of them was chosen by juror Jeffrey W. Allison, the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts (VMFA) for the McGuffey Art Center’s Mid Atlantic Juried Exhibition in Charlottesville.

“I’d say one of the artist’s worst fears is that they will muster up the courage to be vulnerable enough to create a body of work and then it gets a bad reception,” the artist said. “So, I entered a show with one of them who offered a well-regarded juror I knew it would be a good test. Happily, I was rewarded by having him choose my piece to include in the show. That little test helped me realize I was on the right track with this series.”

Links Bridge Vineyards will host an opening reception with an artist talk between 1 and 3PM on Saturday, April 5 and the show runs until Friday, April 27. See all the works online at www.bryanjernigan.com.

The halcyon years of the Washington Color School, over half a century ago, still represent the deepest fine arts footprint ever made by our (then) regional artists, elevating most of them to (now) a global presence.

There's currently a terrific show at Hemphill showcasing the works of two immensely talented artists: Leon Berkowitz and Wayson Jones.

Jones' work first came to my attention via my good friend Lou Stovall, when Stovall selected Jones in 2010 for the October Members Show in Hillyer Art Space.

I've been following Jones' work for many years, and in 2018 I wrote about his participation in that year's Superfine Art Fair and highlighted the "refined works of Wayson R. Jones, whose technique and presentation just keeps getting better and sharper! This is a key DMV artist deserving of more attention by the curatorial cabal of our area." And two years ago I was in the audience when Jones, who in 2022 was Montgomery College’s Visual and Performing Arts Department's Artist in Residence, presented a really good Artist Talk one September day. 

It has been said that "Leon was a character, a character that stood alone..." 

In "An Interview with Gene Davis" by Walter Hopps, we learn that the The Washington Color School "members" did not feel much camaraderie, with each other, and perhaps even a sense of jealousy? George Hemphill notes that:

There are stories of Davis' extreme annoyance at the Corcoran students gathering in groups and sitting before Berkowitz's paintings while leaving his work absent of attention. Berkowitz's paintings sold as well, possibly better than others. His peers' work may garner greater investment returns today, but none have as much universal and growing appeal.

Leon Berkowitz (Photo by Paul Feinberg - Courtesy of Hemphill)

This is an important show which deserves attention not only because of the historical importance of Berkowitz, but also and equally important, a new and powerful footprint by a superbly talented contemporary artist who clearly represents a 21st century extension of those halcyon days. 

Leon Berkowitz in his studio (Photo by Paul Feinberg - Courtesy of Hemphill)

The show runs through April 26, 2025.

H E M P H I L L

434 K Street NW

Washington DC 20001

202.234.5601

hemphillfinearts.com

 Exhibition: "Big Color" at Jo Fleming Contemporary Art

A Celebration of Color and Movement

Barbara Januszkiewicz is no stranger to the transformative power of color. As a contemporary artist deeply influenced by the Washington Color School, her work expands the conversation of color abstraction, layering rich, translucent hues to create movement, depth, and emotion on canvas.

Her latest exhibition, "Big Color," opening at Jo Fleming Contemporary Art, is a bold statement in large-scale abstraction. Through fluid, luminous compositions, Barbara merges color fields with gestural forms, creating an immersive experience that invites viewers to feel color in a way that goes beyond traditional painting.

Color as a Language

Barbara’s technique involves staining unprimed canvas, allowing color to soak deep into the fibers, much like watercolor on paper—creating a luminous, almost ethereal effect. Her paintings breathe and flow, echoing the rhythms of nature, music, and emotion.

Her work has been featured in museums, embassies, and private collections, and this new body of work continues her lifelong dialogue with color, light, and form.

Why You Should See "Big Color"

For collectors, art lovers, and those who simply appreciate the emotional impact of color, this is an exhibition not to be missed. The artist reception on March 8 will provide a unique opportunity to hear Barbara speak about her work, her influences, and how she continues to push the boundaries of abstraction.

More Info: https://www.joflemingcontemporaryart.com/exhibitions

From Yelp:

We're officially hiring a new community intern for later 2025 when Riley's time comes to an unwanted end, and we're on the hunt for another perfect fit. As Elites, you know a ton of talented people so we're tapping on you to help us spread the word on this five-star opportunity. If you know someone that is the best at throwing parties, loves all things local, and has brand social media experience, have them apply at the link below.

Apply here.

Beware of this scam pretending to come from the well-known auction house:

From: Clientservicesnewyorkphillips  - clientservicesnewyorkphillips@gmail.com -

Subject: PHILLIPS AUCTION PROPOSAL

Greetings! We hope this message finds you well. This is the Phillips Auction Team reaching out to express our admiration for your exceptional artwork. Over time, we have closely followed your creative journey and have been thoroughly impressed by the depth and quality of your work. 

After careful consideration, we are excited to extend an invitation to collaborate with you. We believe your unique artistic vision aligns seamlessly with our mission to showcase and celebrate outstanding talent. 

To learn more about Phillips Auction House, please visit our website [https://www.phillips.com/

You may also explore our social media pages for further insights into our initiatives and community. Once you’ve had the opportunity to review our platform, we would be delighted to hear your thoughts and discuss how we can work together.

We look forward to your response and the possibility of collaborating with you.

[Phillips Auction Team]

Coming to Links Bridge Vineyards:

Arlington abstract painter and instructor Bryan Jernigan came to the DMV from rural Oklahoma more than 35 years ago and his upcoming solo show called “Sound of Line” will debut at Links Bridge Vineyards in Thurmont, MD on Saturday, April 5, 2025.

“When I came to Washington, D.C. to live, it wasn’t my first time, but I had only visited once before,” Jernigan said. “Like most young people, I planned to make my name professionally and move on or move back to where I was raised. But D.C. had other plans for me, I guess. Instead, I saw most of my friends peel off and return home, taking back a little piece of urbanity with them. Unlike them, I absorbed the realities of living here – internalizing the highs and lows, taking in the triumphs and suffering through the realities of living the city life, digging in and getting to learn about cultures separate and apart from my own and enduring the everyday realities of things as mundane as seemingly unending traffic commutes.”

Jernigan said coming from the country but choosing to live a city life shaped how he sees the world and how he responds to it in his art.

“In this series – that comprises more than 50 original works on paper and wood panel – the things I noticed most were lines; how they keep us connected, but at the same time how tenuous they are,” he said. “They are less about real things and more about my responses to the things I see - power lines that carry communications from all who use them or lines in pavement that show the age of some parts of the city. The pieces have a gritty feel to them, which is another aspect of living in the city, this juxtaposition between the dirty and the pristine.”

The pieces that span from 12-inch to 3-feet squares include expanses of vibrating actions, scratchy marks and calm respites of undulating non-colors punctuated by bold vibrancy.

“Living in a city is often chaotic, but we do our best to control that craziness in our daily lives. I want the pieces to feel like the embodiment of city living. An homage, so to speak,” Jernigan said. “I hope they are exciting and make viewers feel something akin to a car crash on an otherwise uneventful commute. They are real and they are palpable, and I hope they will resonate with others who live here. We are all different – different backgrounds, different ethnicities – but we all share the same experience of living here and navigating it and getting by.”

Jernigan’s pieces have already received critical acclaim. One of them was chosen by juror Jeffrey W. Allison, the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts (VMFA) for the McGuffey Art Center’s Mid Atlantic Juried Exhibition in Charlottesville.

“I’d say one of the artist’s worst fears is that they will muster up the courage to be vulnerable enough to create a body of work and then it gets a bad reception,” the artist said. “So, I entered a show with one of them who offered a well-regarded juror I knew it would be a good test. Happily, I was rewarded by having him choose my piece to include in the show. That little test helped me realize I was on the right track with this series.”

Links Bridge Vineyards will host an opening reception with an artist talk between 1 and 3PM on Saturday, April 5 and the show runs until Friday, April 27. See all the works online at www.bryanjernigan.com.

The halcyon years of the Washington Color School, over half a century ago, still represent the deepest fine arts footprint ever made by our (then) regional artists, elevating most of them to (now) a global presence.

There's currently a terrific show at Hemphill showcasing the works of two immensely talented artists: Leon Berkowitz and Wayson Jones.

Jones' work first came to my attention via my good friend Lou Stovall, when Stovall selected Jones in 2010 for the October Members Show in Hillyer Art Space.

I've been following Jones' work for many years, and in 2018 I wrote about his participation in that year's Superfine Art Fair and highlighted the "refined works of Wayson R. Jones, whose technique and presentation just keeps getting better and sharper! This is a key DMV artist deserving of more attention by the curatorial cabal of our area." And two years ago I was in the audience when Jones, who in 2022 was Montgomery College’s Visual and Performing Arts Department's Artist in Residence, presented a really good Artist Talk one September day. 

It has been said that "Leon was a character, a character that stood alone..." 

In "An Interview with Gene Davis" by Walter Hopps, we learn that the The Washington Color School "members" did not feel much camaraderie, with each other, and perhaps even a sense of jealousy? George Hemphill notes that:

There are stories of Davis' extreme annoyance at the Corcoran students gathering in groups and sitting before Berkowitz's paintings while leaving his work absent of attention. Berkowitz's paintings sold as well, possibly better than others. His peers' work may garner greater investment returns today, but none have as much universal and growing appeal.

Leon Berkowitz (Photo by Paul Feinberg - Courtesy of Hemphill)

This is an important show which deserves attention not only because of the historical importance of Berkowitz, but also and equally important, a new and powerful footprint by a superbly talented contemporary artist who clearly represents a 21st century extension of those halcyon days. 

Leon Berkowitz in his studio (Photo by Paul Feinberg - Courtesy of Hemphill)

The show runs through April 26, 2025.

H E M P H I L L

434 K Street NW

Washington DC 20001

202.234.5601

hemphillfinearts.com

 Exhibition: "Big Color" at Jo Fleming Contemporary Art

A Celebration of Color and Movement

Barbara Januszkiewicz is no stranger to the transformative power of color. As a contemporary artist deeply influenced by the Washington Color School, her work expands the conversation of color abstraction, layering rich, translucent hues to create movement, depth, and emotion on canvas.

Her latest exhibition, "Big Color," opening at Jo Fleming Contemporary Art, is a bold statement in large-scale abstraction. Through fluid, luminous compositions, Barbara merges color fields with gestural forms, creating an immersive experience that invites viewers to feel color in a way that goes beyond traditional painting.

Color as a Language

Barbara’s technique involves staining unprimed canvas, allowing color to soak deep into the fibers, much like watercolor on paper—creating a luminous, almost ethereal effect. Her paintings breathe and flow, echoing the rhythms of nature, music, and emotion.

Her work has been featured in museums, embassies, and private collections, and this new body of work continues her lifelong dialogue with color, light, and form.

Why You Should See "Big Color"

For collectors, art lovers, and those who simply appreciate the emotional impact of color, this is an exhibition not to be missed. The artist reception on March 8 will provide a unique opportunity to hear Barbara speak about her work, her influences, and how she continues to push the boundaries of abstraction.

More Info: https://www.joflemingcontemporaryart.com/exhibitions

From Yelp:

We're officially hiring a new community intern for later 2025 when Riley's time comes to an unwanted end, and we're on the hunt for another perfect fit. As Elites, you know a ton of talented people so we're tapping on you to help us spread the word on this five-star opportunity. If you know someone that is the best at throwing parties, loves all things local, and has brand social media experience, have them apply at the link below.

Apply here.

Beware of this scam pretending to come from the well-known auction house:

From: Clientservicesnewyorkphillips  - clientservicesnewyorkphillips@gmail.com -

Subject: PHILLIPS AUCTION PROPOSAL

Greetings! We hope this message finds you well. This is the Phillips Auction Team reaching out to express our admiration for your exceptional artwork. Over time, we have closely followed your creative journey and have been thoroughly impressed by the depth and quality of your work. 

After careful consideration, we are excited to extend an invitation to collaborate with you. We believe your unique artistic vision aligns seamlessly with our mission to showcase and celebrate outstanding talent. 

To learn more about Phillips Auction House, please visit our website [https://www.phillips.com/

You may also explore our social media pages for further insights into our initiatives and community. Once you’ve had the opportunity to review our platform, we would be delighted to hear your thoughts and discuss how we can work together.

We look forward to your response and the possibility of collaborating with you.

[Phillips Auction Team]

Coming to Links Bridge Vineyards:

Arlington abstract painter and instructor Bryan Jernigan came to the DMV from rural Oklahoma more than 35 years ago and his upcoming solo show called “Sound of Line” will debut at Links Bridge Vineyards in Thurmont, MD on Saturday, April 5, 2025.

“When I came to Washington, D.C. to live, it wasn’t my first time, but I had only visited once before,” Jernigan said. “Like most young people, I planned to make my name professionally and move on or move back to where I was raised. But D.C. had other plans for me, I guess. Instead, I saw most of my friends peel off and return home, taking back a little piece of urbanity with them. Unlike them, I absorbed the realities of living here – internalizing the highs and lows, taking in the triumphs and suffering through the realities of living the city life, digging in and getting to learn about cultures separate and apart from my own and enduring the everyday realities of things as mundane as seemingly unending traffic commutes.”

Jernigan said coming from the country but choosing to live a city life shaped how he sees the world and how he responds to it in his art.

“In this series – that comprises more than 50 original works on paper and wood panel – the things I noticed most were lines; how they keep us connected, but at the same time how tenuous they are,” he said. “They are less about real things and more about my responses to the things I see - power lines that carry communications from all who use them or lines in pavement that show the age of some parts of the city. The pieces have a gritty feel to them, which is another aspect of living in the city, this juxtaposition between the dirty and the pristine.”

The pieces that span from 12-inch to 3-feet squares include expanses of vibrating actions, scratchy marks and calm respites of undulating non-colors punctuated by bold vibrancy.

“Living in a city is often chaotic, but we do our best to control that craziness in our daily lives. I want the pieces to feel like the embodiment of city living. An homage, so to speak,” Jernigan said. “I hope they are exciting and make viewers feel something akin to a car crash on an otherwise uneventful commute. They are real and they are palpable, and I hope they will resonate with others who live here. We are all different – different backgrounds, different ethnicities – but we all share the same experience of living here and navigating it and getting by.”

Jernigan’s pieces have already received critical acclaim. One of them was chosen by juror Jeffrey W. Allison, the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts (VMFA) for the McGuffey Art Center’s Mid Atlantic Juried Exhibition in Charlottesville.

“I’d say one of the artist’s worst fears is that they will muster up the courage to be vulnerable enough to create a body of work and then it gets a bad reception,” the artist said. “So, I entered a show with one of them who offered a well-regarded juror I knew it would be a good test. Happily, I was rewarded by having him choose my piece to include in the show. That little test helped me realize I was on the right track with this series.”

Links Bridge Vineyards will host an opening reception with an artist talk between 1 and 3PM on Saturday, April 5 and the show runs until Friday, April 27. See all the works online at www.bryanjernigan.com.

The halcyon years of the Washington Color School, over half a century ago, still represent the deepest fine arts footprint ever made by our (then) regional artists, elevating most of them to (now) a global presence.

There's currently a terrific show at Hemphill showcasing the works of two immensely talented artists: Leon Berkowitz and Wayson Jones.

Jones' work first came to my attention via my good friend Lou Stovall, when Stovall selected Jones in 2010 for the October Members Show in Hillyer Art Space.

I've been following Jones' work for many years, and in 2018 I wrote about his participation in that year's Superfine Art Fair and highlighted the "refined works of Wayson R. Jones, whose technique and presentation just keeps getting better and sharper! This is a key DMV artist deserving of more attention by the curatorial cabal of our area." And two years ago I was in the audience when Jones, who in 2022 was Montgomery College’s Visual and Performing Arts Department's Artist in Residence, presented a really good Artist Talk one September day. 

It has been said that "Leon was a character, a character that stood alone..." 

In "An Interview with Gene Davis" by Walter Hopps, we learn that the The Washington Color School "members" did not feel much camaraderie, with each other, and perhaps even a sense of jealousy? George Hemphill notes that:

There are stories of Davis' extreme annoyance at the Corcoran students gathering in groups and sitting before Berkowitz's paintings while leaving his work absent of attention. Berkowitz's paintings sold as well, possibly better than others. His peers' work may garner greater investment returns today, but none have as much universal and growing appeal.

Leon Berkowitz (Photo by Paul Feinberg - Courtesy of Hemphill)

This is an important show which deserves attention not only because of the historical importance of Berkowitz, but also and equally important, a new and powerful footprint by a superbly talented contemporary artist who clearly represents a 21st century extension of those halcyon days. 

Leon Berkowitz in his studio (Photo by Paul Feinberg - Courtesy of Hemphill)

The show runs through April 26, 2025.

H E M P H I L L

434 K Street NW

Washington DC 20001

202.234.5601

hemphillfinearts.com

 Exhibition: "Big Color" at Jo Fleming Contemporary Art

A Celebration of Color and Movement

Barbara Januszkiewicz is no stranger to the transformative power of color. As a contemporary artist deeply influenced by the Washington Color School, her work expands the conversation of color abstraction, layering rich, translucent hues to create movement, depth, and emotion on canvas.

Her latest exhibition, "Big Color," opening at Jo Fleming Contemporary Art, is a bold statement in large-scale abstraction. Through fluid, luminous compositions, Barbara merges color fields with gestural forms, creating an immersive experience that invites viewers to feel color in a way that goes beyond traditional painting.

Color as a Language

Barbara’s technique involves staining unprimed canvas, allowing color to soak deep into the fibers, much like watercolor on paper—creating a luminous, almost ethereal effect. Her paintings breathe and flow, echoing the rhythms of nature, music, and emotion.

Her work has been featured in museums, embassies, and private collections, and this new body of work continues her lifelong dialogue with color, light, and form.

Why You Should See "Big Color"

For collectors, art lovers, and those who simply appreciate the emotional impact of color, this is an exhibition not to be missed. The artist reception on March 8 will provide a unique opportunity to hear Barbara speak about her work, her influences, and how she continues to push the boundaries of abstraction.

More Info: https://www.joflemingcontemporaryart.com/exhibitions

From Yelp:

We're officially hiring a new community intern for later 2025 when Riley's time comes to an unwanted end, and we're on the hunt for another perfect fit. As Elites, you know a ton of talented people so we're tapping on you to help us spread the word on this five-star opportunity. If you know someone that is the best at throwing parties, loves all things local, and has brand social media experience, have them apply at the link below.

Apply here.

Beware of this scam pretending to come from the well-known auction house:

From: Clientservicesnewyorkphillips  - clientservicesnewyorkphillips@gmail.com -

Subject: PHILLIPS AUCTION PROPOSAL

Greetings! We hope this message finds you well. This is the Phillips Auction Team reaching out to express our admiration for your exceptional artwork. Over time, we have closely followed your creative journey and have been thoroughly impressed by the depth and quality of your work. 

After careful consideration, we are excited to extend an invitation to collaborate with you. We believe your unique artistic vision aligns seamlessly with our mission to showcase and celebrate outstanding talent. 

To learn more about Phillips Auction House, please visit our website [https://www.phillips.com/

You may also explore our social media pages for further insights into our initiatives and community. Once you’ve had the opportunity to review our platform, we would be delighted to hear your thoughts and discuss how we can work together.

We look forward to your response and the possibility of collaborating with you.

[Phillips Auction Team]

Coming to Links Bridge Vineyards:

Arlington abstract painter and instructor Bryan Jernigan came to the DMV from rural Oklahoma more than 35 years ago and his upcoming solo show called “Sound of Line” will debut at Links Bridge Vineyards in Thurmont, MD on Saturday, April 5, 2025.

“When I came to Washington, D.C. to live, it wasn’t my first time, but I had only visited once before,” Jernigan said. “Like most young people, I planned to make my name professionally and move on or move back to where I was raised. But D.C. had other plans for me, I guess. Instead, I saw most of my friends peel off and return home, taking back a little piece of urbanity with them. Unlike them, I absorbed the realities of living here – internalizing the highs and lows, taking in the triumphs and suffering through the realities of living the city life, digging in and getting to learn about cultures separate and apart from my own and enduring the everyday realities of things as mundane as seemingly unending traffic commutes.”

Jernigan said coming from the country but choosing to live a city life shaped how he sees the world and how he responds to it in his art.

“In this series – that comprises more than 50 original works on paper and wood panel – the things I noticed most were lines; how they keep us connected, but at the same time how tenuous they are,” he said. “They are less about real things and more about my responses to the things I see - power lines that carry communications from all who use them or lines in pavement that show the age of some parts of the city. The pieces have a gritty feel to them, which is another aspect of living in the city, this juxtaposition between the dirty and the pristine.”

The pieces that span from 12-inch to 3-feet squares include expanses of vibrating actions, scratchy marks and calm respites of undulating non-colors punctuated by bold vibrancy.

“Living in a city is often chaotic, but we do our best to control that craziness in our daily lives. I want the pieces to feel like the embodiment of city living. An homage, so to speak,” Jernigan said. “I hope they are exciting and make viewers feel something akin to a car crash on an otherwise uneventful commute. They are real and they are palpable, and I hope they will resonate with others who live here. We are all different – different backgrounds, different ethnicities – but we all share the same experience of living here and navigating it and getting by.”

Jernigan’s pieces have already received critical acclaim. One of them was chosen by juror Jeffrey W. Allison, the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts (VMFA) for the McGuffey Art Center’s Mid Atlantic Juried Exhibition in Charlottesville.

“I’d say one of the artist’s worst fears is that they will muster up the courage to be vulnerable enough to create a body of work and then it gets a bad reception,” the artist said. “So, I entered a show with one of them who offered a well-regarded juror I knew it would be a good test. Happily, I was rewarded by having him choose my piece to include in the show. That little test helped me realize I was on the right track with this series.”

Links Bridge Vineyards will host an opening reception with an artist talk between 1 and 3PM on Saturday, April 5 and the show runs until Friday, April 27. See all the works online at www.bryanjernigan.com.

The halcyon years of the Washington Color School, over half a century ago, still represent the deepest fine arts footprint ever made by our (then) regional artists, elevating most of them to (now) a global presence.

There's currently a terrific show at Hemphill showcasing the works of two immensely talented artists: Leon Berkowitz and Wayson Jones.

Jones' work first came to my attention via my good friend Lou Stovall, when Stovall selected Jones in 2010 for the October Members Show in Hillyer Art Space.

I've been following Jones' work for many years, and in 2018 I wrote about his participation in that year's Superfine Art Fair and highlighted the "refined works of Wayson R. Jones, whose technique and presentation just keeps getting better and sharper! This is a key DMV artist deserving of more attention by the curatorial cabal of our area." And two years ago I was in the audience when Jones, who in 2022 was Montgomery College’s Visual and Performing Arts Department's Artist in Residence, presented a really good Artist Talk one September day. 

It has been said that "Leon was a character, a character that stood alone..." 

In "An Interview with Gene Davis" by Walter Hopps, we learn that the The Washington Color School "members" did not feel much camaraderie, with each other, and perhaps even a sense of jealousy? George Hemphill notes that:

There are stories of Davis' extreme annoyance at the Corcoran students gathering in groups and sitting before Berkowitz's paintings while leaving his work absent of attention. Berkowitz's paintings sold as well, possibly better than others. His peers' work may garner greater investment returns today, but none have as much universal and growing appeal.

Leon Berkowitz (Photo by Paul Feinberg - Courtesy of Hemphill)

This is an important show which deserves attention not only because of the historical importance of Berkowitz, but also and equally important, a new and powerful footprint by a superbly talented contemporary artist who clearly represents a 21st century extension of those halcyon days. 

Leon Berkowitz in his studio (Photo by Paul Feinberg - Courtesy of Hemphill)

The show runs through April 26, 2025.

H E M P H I L L

434 K Street NW

Washington DC 20001

202.234.5601

hemphillfinearts.com

 Exhibition: "Big Color" at Jo Fleming Contemporary Art

A Celebration of Color and Movement

Barbara Januszkiewicz is no stranger to the transformative power of color. As a contemporary artist deeply influenced by the Washington Color School, her work expands the conversation of color abstraction, layering rich, translucent hues to create movement, depth, and emotion on canvas.

Her latest exhibition, "Big Color," opening at Jo Fleming Contemporary Art, is a bold statement in large-scale abstraction. Through fluid, luminous compositions, Barbara merges color fields with gestural forms, creating an immersive experience that invites viewers to feel color in a way that goes beyond traditional painting.

Color as a Language

Barbara’s technique involves staining unprimed canvas, allowing color to soak deep into the fibers, much like watercolor on paper—creating a luminous, almost ethereal effect. Her paintings breathe and flow, echoing the rhythms of nature, music, and emotion.

Her work has been featured in museums, embassies, and private collections, and this new body of work continues her lifelong dialogue with color, light, and form.

Why You Should See "Big Color"

For collectors, art lovers, and those who simply appreciate the emotional impact of color, this is an exhibition not to be missed. The artist reception on March 8 will provide a unique opportunity to hear Barbara speak about her work, her influences, and how she continues to push the boundaries of abstraction.

More Info: https://www.joflemingcontemporaryart.com/exhibitions

From Yelp:

We're officially hiring a new community intern for later 2025 when Riley's time comes to an unwanted end, and we're on the hunt for another perfect fit. As Elites, you know a ton of talented people so we're tapping on you to help us spread the word on this five-star opportunity. If you know someone that is the best at throwing parties, loves all things local, and has brand social media experience, have them apply at the link below.

Apply here.

Beware of this scam pretending to come from the well-known auction house:

From: Clientservicesnewyorkphillips  - clientservicesnewyorkphillips@gmail.com -

Subject: PHILLIPS AUCTION PROPOSAL

Greetings! We hope this message finds you well. This is the Phillips Auction Team reaching out to express our admiration for your exceptional artwork. Over time, we have closely followed your creative journey and have been thoroughly impressed by the depth and quality of your work. 

After careful consideration, we are excited to extend an invitation to collaborate with you. We believe your unique artistic vision aligns seamlessly with our mission to showcase and celebrate outstanding talent. 

To learn more about Phillips Auction House, please visit our website [https://www.phillips.com/

You may also explore our social media pages for further insights into our initiatives and community. Once you’ve had the opportunity to review our platform, we would be delighted to hear your thoughts and discuss how we can work together.

We look forward to your response and the possibility of collaborating with you.

[Phillips Auction Team]

Coming to Links Bridge Vineyards:

Arlington abstract painter and instructor Bryan Jernigan came to the DMV from rural Oklahoma more than 35 years ago and his upcoming solo show called “Sound of Line” will debut at Links Bridge Vineyards in Thurmont, MD on Saturday, April 5, 2025.

“When I came to Washington, D.C. to live, it wasn’t my first time, but I had only visited once before,” Jernigan said. “Like most young people, I planned to make my name professionally and move on or move back to where I was raised. But D.C. had other plans for me, I guess. Instead, I saw most of my friends peel off and return home, taking back a little piece of urbanity with them. Unlike them, I absorbed the realities of living here – internalizing the highs and lows, taking in the triumphs and suffering through the realities of living the city life, digging in and getting to learn about cultures separate and apart from my own and enduring the everyday realities of things as mundane as seemingly unending traffic commutes.”

Jernigan said coming from the country but choosing to live a city life shaped how he sees the world and how he responds to it in his art.

“In this series – that comprises more than 50 original works on paper and wood panel – the things I noticed most were lines; how they keep us connected, but at the same time how tenuous they are,” he said. “They are less about real things and more about my responses to the things I see - power lines that carry communications from all who use them or lines in pavement that show the age of some parts of the city. The pieces have a gritty feel to them, which is another aspect of living in the city, this juxtaposition between the dirty and the pristine.”

The pieces that span from 12-inch to 3-feet squares include expanses of vibrating actions, scratchy marks and calm respites of undulating non-colors punctuated by bold vibrancy.

“Living in a city is often chaotic, but we do our best to control that craziness in our daily lives. I want the pieces to feel like the embodiment of city living. An homage, so to speak,” Jernigan said. “I hope they are exciting and make viewers feel something akin to a car crash on an otherwise uneventful commute. They are real and they are palpable, and I hope they will resonate with others who live here. We are all different – different backgrounds, different ethnicities – but we all share the same experience of living here and navigating it and getting by.”

Jernigan’s pieces have already received critical acclaim. One of them was chosen by juror Jeffrey W. Allison, the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts (VMFA) for the McGuffey Art Center’s Mid Atlantic Juried Exhibition in Charlottesville.

“I’d say one of the artist’s worst fears is that they will muster up the courage to be vulnerable enough to create a body of work and then it gets a bad reception,” the artist said. “So, I entered a show with one of them who offered a well-regarded juror I knew it would be a good test. Happily, I was rewarded by having him choose my piece to include in the show. That little test helped me realize I was on the right track with this series.”

Links Bridge Vineyards will host an opening reception with an artist talk between 1 and 3PM on Saturday, April 5 and the show runs until Friday, April 27. See all the works online at www.bryanjernigan.com.

The halcyon years of the Washington Color School, over half a century ago, still represent the deepest fine arts footprint ever made by our (then) regional artists, elevating most of them to (now) a global presence.

There's currently a terrific show at Hemphill showcasing the works of two immensely talented artists: Leon Berkowitz and Wayson Jones.

Jones' work first came to my attention via my good friend Lou Stovall, when Stovall selected Jones in 2010 for the October Members Show in Hillyer Art Space.

I've been following Jones' work for many years, and in 2018 I wrote about his participation in that year's Superfine Art Fair and highlighted the "refined works of Wayson R. Jones, whose technique and presentation just keeps getting better and sharper! This is a key DMV artist deserving of more attention by the curatorial cabal of our area." And two years ago I was in the audience when Jones, who in 2022 was Montgomery College’s Visual and Performing Arts Department's Artist in Residence, presented a really good Artist Talk one September day. 

It has been said that "Leon was a character, a character that stood alone..." 

In "An Interview with Gene Davis" by Walter Hopps, we learn that the The Washington Color School "members" did not feel much camaraderie, with each other, and perhaps even a sense of jealousy? George Hemphill notes that:

There are stories of Davis' extreme annoyance at the Corcoran students gathering in groups and sitting before Berkowitz's paintings while leaving his work absent of attention. Berkowitz's paintings sold as well, possibly better than others. His peers' work may garner greater investment returns today, but none have as much universal and growing appeal.

Leon Berkowitz (Photo by Paul Feinberg - Courtesy of Hemphill)

This is an important show which deserves attention not only because of the historical importance of Berkowitz, but also and equally important, a new and powerful footprint by a superbly talented contemporary artist who clearly represents a 21st century extension of those halcyon days. 

Leon Berkowitz in his studio (Photo by Paul Feinberg - Courtesy of Hemphill)

The show runs through April 26, 2025.

H E M P H I L L

434 K Street NW

Washington DC 20001

202.234.5601

hemphillfinearts.com

 Exhibition: "Big Color" at Jo Fleming Contemporary Art

A Celebration of Color and Movement

Barbara Januszkiewicz is no stranger to the transformative power of color. As a contemporary artist deeply influenced by the Washington Color School, her work expands the conversation of color abstraction, layering rich, translucent hues to create movement, depth, and emotion on canvas.

Her latest exhibition, "Big Color," opening at Jo Fleming Contemporary Art, is a bold statement in large-scale abstraction. Through fluid, luminous compositions, Barbara merges color fields with gestural forms, creating an immersive experience that invites viewers to feel color in a way that goes beyond traditional painting.

Color as a Language

Barbara’s technique involves staining unprimed canvas, allowing color to soak deep into the fibers, much like watercolor on paper—creating a luminous, almost ethereal effect. Her paintings breathe and flow, echoing the rhythms of nature, music, and emotion.

Her work has been featured in museums, embassies, and private collections, and this new body of work continues her lifelong dialogue with color, light, and form.

Why You Should See "Big Color"

For collectors, art lovers, and those who simply appreciate the emotional impact of color, this is an exhibition not to be missed. The artist reception on March 8 will provide a unique opportunity to hear Barbara speak about her work, her influences, and how she continues to push the boundaries of abstraction.

More Info: https://www.joflemingcontemporaryart.com/exhibitions

From Yelp:

We're officially hiring a new community intern for later 2025 when Riley's time comes to an unwanted end, and we're on the hunt for another perfect fit. As Elites, you know a ton of talented people so we're tapping on you to help us spread the word on this five-star opportunity. If you know someone that is the best at throwing parties, loves all things local, and has brand social media experience, have them apply at the link below.

Apply here.

Beware of this scam pretending to come from the well-known auction house:

From: Clientservicesnewyorkphillips  - clientservicesnewyorkphillips@gmail.com -

Subject: PHILLIPS AUCTION PROPOSAL

Greetings! We hope this message finds you well. This is the Phillips Auction Team reaching out to express our admiration for your exceptional artwork. Over time, we have closely followed your creative journey and have been thoroughly impressed by the depth and quality of your work. 

After careful consideration, we are excited to extend an invitation to collaborate with you. We believe your unique artistic vision aligns seamlessly with our mission to showcase and celebrate outstanding talent. 

To learn more about Phillips Auction House, please visit our website [https://www.phillips.com/

You may also explore our social media pages for further insights into our initiatives and community. Once you’ve had the opportunity to review our platform, we would be delighted to hear your thoughts and discuss how we can work together.

We look forward to your response and the possibility of collaborating with you.

[Phillips Auction Team]

Coming to Links Bridge Vineyards:

Arlington abstract painter and instructor Bryan Jernigan came to the DMV from rural Oklahoma more than 35 years ago and his upcoming solo show called “Sound of Line” will debut at Links Bridge Vineyards in Thurmont, MD on Saturday, April 5, 2025.

“When I came to Washington, D.C. to live, it wasn’t my first time, but I had only visited once before,” Jernigan said. “Like most young people, I planned to make my name professionally and move on or move back to where I was raised. But D.C. had other plans for me, I guess. Instead, I saw most of my friends peel off and return home, taking back a little piece of urbanity with them. Unlike them, I absorbed the realities of living here – internalizing the highs and lows, taking in the triumphs and suffering through the realities of living the city life, digging in and getting to learn about cultures separate and apart from my own and enduring the everyday realities of things as mundane as seemingly unending traffic commutes.”

Jernigan said coming from the country but choosing to live a city life shaped how he sees the world and how he responds to it in his art.

“In this series – that comprises more than 50 original works on paper and wood panel – the things I noticed most were lines; how they keep us connected, but at the same time how tenuous they are,” he said. “They are less about real things and more about my responses to the things I see - power lines that carry communications from all who use them or lines in pavement that show the age of some parts of the city. The pieces have a gritty feel to them, which is another aspect of living in the city, this juxtaposition between the dirty and the pristine.”

The pieces that span from 12-inch to 3-feet squares include expanses of vibrating actions, scratchy marks and calm respites of undulating non-colors punctuated by bold vibrancy.

“Living in a city is often chaotic, but we do our best to control that craziness in our daily lives. I want the pieces to feel like the embodiment of city living. An homage, so to speak,” Jernigan said. “I hope they are exciting and make viewers feel something akin to a car crash on an otherwise uneventful commute. They are real and they are palpable, and I hope they will resonate with others who live here. We are all different – different backgrounds, different ethnicities – but we all share the same experience of living here and navigating it and getting by.”

Jernigan’s pieces have already received critical acclaim. One of them was chosen by juror Jeffrey W. Allison, the Paul Mellon Collection Educator and Director, Statewide Programs and Exhibitions at the Virginia Museum of Fine Arts (VMFA) for the McGuffey Art Center’s Mid Atlantic Juried Exhibition in Charlottesville.

“I’d say one of the artist’s worst fears is that they will muster up the courage to be vulnerable enough to create a body of work and then it gets a bad reception,” the artist said. “So, I entered a show with one of them who offered a well-regarded juror I knew it would be a good test. Happily, I was rewarded by having him choose my piece to include in the show. That little test helped me realize I was on the right track with this series.”

Links Bridge Vineyards will host an opening reception with an artist talk between 1 and 3PM on Saturday, April 5 and the show runs until Friday, April 27. See all the works online at www.bryanjernigan.com.

The halcyon years of the Washington Color School, over half a century ago, still represent the deepest fine arts footprint ever made by our (then) regional artists, elevating most of them to (now) a global presence.

There's currently a terrific show at Hemphill showcasing the works of two immensely talented artists: Leon Berkowitz and Wayson Jones.

Jones' work first came to my attention via my good friend Lou Stovall, when Stovall selected Jones in 2010 for the October Members Show in Hillyer Art Space.

I've been following Jones' work for many years, and in 2018 I wrote about his participation in that year's Superfine Art Fair and highlighted the "refined works of Wayson R. Jones, whose technique and presentation just keeps getting better and sharper! This is a key DMV artist deserving of more attention by the curatorial cabal of our area." And two years ago I was in the audience when Jones, who in 2022 was Montgomery College’s Visual and Performing Arts Department's Artist in Residence, presented a really good Artist Talk one September day. 

It has been said that "Leon was a character, a character that stood alone..." 

In "An Interview with Gene Davis" by Walter Hopps, we learn that the The Washington Color School "members" did not feel much camaraderie, with each other, and perhaps even a sense of jealousy? George Hemphill notes that: