THE BEAUTIFUL: Poets Reimagine a Nation. THE BEAUTIFUL features the nation's' foremost poets and revolutionizes our ideas of beauty and belonging.

Greetings,

Please consider supporting this project! THE BEAUTIFUL: Poets Reimagine a Nation. THE BEAUTIFUL features the nation's' foremost poets and revolutionizes our ideas of beauty and belonging. I'm so pleased that DanaTeen Lomax choose my artwork "By Intricate Design" as the cover art.

Blessings!

Invite beauty in!

In the chaos of a constantly shifting world, we can turn to the poets. They invite us to re-envision beauty and challenge conventional ideals.  They ask us to co-create just and equitable communities. And they show us how. This multicultural, multi-generational anthology redefines beauty in order to sustain and protect it.

In THE BEAUTIFUL, truth-telling, mentorship, activism, art-making, and sustainability practices inspire communal responsibility and help us reimagine beauty in surprising ways.

THE BEAUTIFUL contributors include:

Introduction Juan Felipe Herrera

Editor’s Note Dana Teen Lomax

Sāmoa ‘i Sasa’e/American Samoa

Dan Taulapapa McMullin

Guåhan/Guam Evelyn San Miguel Flores

Northern Mariana Islands

Joey “Pepe Batbon” Connolly

Puerto Rico Julio César Pol

U.S. Virgin Islands Tiphanie Yanique

Alabama Jacqueline Allen Trimble

Alaska X’unei Lance Twitchell

Arizona Felicia Zamora

Arkansas Dana Teen Lomax

California Jaime Cortez

Colorado Jovan Mays

Connecticut Rayon Lennon

Delaware Gemelle John

Florida Nicole Brodsky

Georgia Jericho Brown

Hawai‘i No‘u Revilla

Idaho Janet Holmes

Illinois Sarah Rosenthal

Indiana Marianne Boruch

Iowa Akwi Nji

Kansas Megan Kaminski

Kentucky Kristen Renee Miller

Louisiana Megan Burns

Maine Stuart Kestenbaum

Maryland Linda Pastan

Massachusetts Eileen Myles

Michigan Rob Halpern

Minnesota 신 선 영 Sun Yung Shin

Mississippi E. Ethelbert Miller

Missouri Dorothea Lasky

Montana Prageeta Sharma

Nebraska Matt Mason

Nevada Vogue Robinson

New Hampshire Kate Greenstreet

New Jersey Cortney Lamar Charleston

New Mexico Arthur Sze

New York Jennifer Firestone

North Carolina Dorianne Laux

North Dakota Denise K. Lajimodiere

Ohio Amit Majmudar

Oklahoma Joy Harjo

Oregon Douglas Manuel

Pennsylvania Raquel Salas Rivera

Rhode Island Sawako Nakayasu

South Carolina Marcus Amaker

South Dakota Lee Ann Roripaugh

Tennessee Ama Codjoe

Texas Ching-In Chen

Utah Craig Dworkin

Vermont Camille Guthrie

Virginia giovanni singleton

Washington Sally and Sam Green

Washington, D.C. Sarah Anne Cox

West Virginia Marc Harshman

Wisconsin Oliver Baez Bendorf

Wyoming David Romtvedt

Cover Art by Amber Robles-Gordon

Book Design by Roberta Morris

Gualala Arts is a Mendocino-based nonprofit whose mission is to promote interest and participation in the arts. Since 1961, Gualala Arts has served Sonoma and Mendocino County coastal residents and visitors with year-round programs of art, music, theater and education. Gualala Arts operates with 12 members on the board of directors, an executive director and management team including: events, office, operations, project and publicity.  Gualala Arts is also supported  hundreds of dedicated volunteers.

The Baltimore Office of Promotion & The Arts (BOPA) proudly announces the semifinalists for the 17th annual Janet & Walter Sondheim Art Prize

Janet & Walter Sondheim Art Prize

The Baltimore Office of Promotion & The Arts (BOPA) proudly announces the semifinalists for the 17th annual Janet & Walter Sondheim Art Prize. This year’s panel of esteemed jurors — Catherine Morris, Jean Shin, and Kambui Olujimi — have selected 13 visual artists for the semifinal round. Semifinalists will be asked to share an expanded submission including up to 30 images or time-based works and a description of how they will use the fellowship if they are selected

Three of these semifinalists will then be selected for final review for the prize and their work will be exhibited in the Walters Art Museum beginning in July 2022. This year, the prestigious prize will award $30,000 to a visual artist or visual artist collaborators living and working in the Baltimore region. BOPA will also be awarding two residencies to finalists not selected for the Sondheim Art Prize: a six-week, fully funded residency at Civitella Ranieri in the Umbria region of Italy, and a six-month residency at the Bromo Seltzer Arts Tower in Baltimore.

Civitella Ranieri (www.civitella.org) is a residency program for international writers, composers, and visual artists. Since 1995, Civitella has hosted more than 1,000 Fellows and Director’s Guests. The Center enables its Fellows to pursue their work and to exchange ideas in a unique and inspiring setting. The Bromo Seltzer Arts Tower has been transformed into studio spaces for visual and literary artists. Located at 21 S. Eutaw Street in the heart of the Bromo Arts & Entertainment District, the 15-story city landmark is the ideal location for artists to explore their practice.

The 2022 Janet & Walter Sondheim Prize Semifinalists:
Tommy Bobo - Washington, DC
Marybeth Chew - Baltimore, MD
Susan Crawford - Baltimore, MD
Andrew Gray - Baltimore, MD
Maren Henson - Baltimore, MD
Megan Koeppel - Baltimore, MD
Travis Levasseur - Baltimore, MD
Katherine Mann - Washington, DC
David Page - Baltimore, MD
Mojdeh Rezaeipour - Washington, DC
Amber Robles-Gordon - Washington, DC
Katiana Weems - Baltimore, MD
James Williams II - Baltimore, MD

The finalists' exhibition will be on view at the Walters Art Museum, 600 N. Charles Street, beginning in July. Admission to the exhibition is free. The day the exhibiton opens, the jurors will meet with each artist for up to 30 minutes in their exhibition space for a final interview. After the interviews, the jurors will meet and decide the prize winner and the recipient of each residency. The awards will be announced later that evening at the award reception.

In the case of COVID-19 restrictions not allowing for in-person exhibitions, BOPA will utilize the online platform Kunstmatrix, with assistance from the Walters' curatorial staff. Juror interviews will take place online, and BOPA will coordinate a virtual award ceremony. 

The 17th annual Janet & Walter Sondheim Art Prize is produced by the Baltimore Office of Promotion & The Arts in partnership with the Walters Art Museum. Learn more about the Janet & Walter Sondheim Art Prize at www.promotionandarts.org. To see artwork samples of this year’s semifinalists, follow BOPA on Instagram, Facebook, and Twitter: @promoandarts

For artists who are applying for the ARG, and to promote understanding on general elements of a contract, BOPA has engaged Maryland Volunteer Lawyers for the Arts (MDVLA) to lead a virtual legal workshop training on contract law basics. The workshop, held on Saturday, March 5, from 10:00 a.m.–12:00 p.m., is free to attend. Register to get the link below.

REGISTER HERE

https://www.promotionandarts.org/arts-council/janet-walter-sondheim-art-prize

Black Portraitures VII

marking territory in the void

Date: February 17, 2022

• Time: 2:00 pm—3:30 pm

• Location: Paul Robeson Gallery Workshop B

• Speakers

  • Nyugen E. Smith

  • Amber Robles-Gordon

  • Sarah Stefana Smith – Mount Holyoke College

• Moderator

  Alex Callendar

This panel is devised around the work of Carribeanist scholars and thinkers, Edouard Glissant and Sylvia Wynter. Both articulate a desire to conceive of other worlds through a reconsideration of diasporic time, space and territory, and the opacities of history. Or, as artists we ask through their theoretical frames; how do you mark a territory to something that is a void, or an abyss, or unspeakable, or mistaken as a thing? Through studio practices, which include mixed-media, drawing, time-based works and performance, we consider in an open sense, historical recovery as sites of intervention, provisionality, and play, holding space for the language of transparency and opacity emergent in Black aesthetics.  

The roundtable puts to use this year’s convening of Black Portraiture and the capaciousness of play. Play then, to use the words of Stuart Hall, becomes a mode to consider Black diaspora being, refusal and resistance with no guarantee. Hall notes  on play with no guarantee, 

“Far from being eternally fixed in some essentialized past, they are subject to the continuous “play” of history, culture and power. Far from being grounded in mere “recovery” of the past, which is waiting to be found, and which when found, will secure our sense of ourselves into eternity, identities are the names we give to the different ways we are positioned by, and position ourselves within, the narratives of the past” (Hall 2000, 23). 

Thus, we conceive of this roundtable on play with no guarantee in manifold ways. Some negotiate historical counternarratives through the afterlife of the archive, while others meditate on materiality and matter as psychic scaffolding and memory work. 

Bios

Alex Callender’s practice uses methods of drawing, painting, and installation to trace and remap historical materials as a means to explore with both criticality and care, how we might disentangle the interwoven relations of race, gender, and capitalism. Callender is an Assistant Professor of Art at Smith College.

Amber Robles-Gordon, is a mixed media visual artist. Her creations are visual representations of her hybridism: a fusion of her gender, ethnicity, cultural, and social experiences. Known for recontextualizing non-traditional materials, her assemblages, sculptures, installations emphasize the essentialness of spirituality and temporality within life. Robles-Gordon, received a Bachelor of Science, Business Administration from Trinity University, and a MFA from Howard University. 

Nyugen E. Smith (USA, Haiti, Trinidad and Tobago) is a first-generation Caribbean-American interdisciplinary artist based in Jersey City, NJ. Through performance, found object sculpture, mixed media drawing, painting, video, photo and writing, Nyugen deepens his knowledge of historical and present-day conditions of Black African descendants in the diaspora. He holds a BA, Fine Art from Seton Hall University and an MFA from The School of the Art Institute of Chicago. 

Sarah Stefana Smith is an interdisciplinary scholar and visual artist. Their sculpture and installation work explores the intersection of repair and disrepair. Their research communicates between the fields of Black art and culture, queer theory and affect studies, visuality and aesthetics. Smith is an Assistant Professor of Gender Studies at Mount Holyoke College.

https://www.blackportraitures.info/bp7/event/marking-territory-in-the-void/

“Successions: Traversing U.S. Colonialism” on Exhibit at American University Museum

“USVI Spiritual, Moko Jumbie: Walk Tall and Heal Forward” Mixed Media on quilt, (back of “USVI Political”) 2021 (Courtesy of Amber Robles-Gordon)

Amber Robles-Gordon’s “Successions: Traversing U.S. Colonialism” has a dual purpose. It consists of her “Place of Birth and Breath” solo exhibit viewed first in her native Puerto Rico in 2020, and it has evolved into a component exhibit, which is an exploration of the historical underpinnings of U.S. Colonialism.

Robles-Gordon is a mixed media visual artist whose solo exhibit at the American University Museum opened in August and can be viewed Fridays through Sundays, from 1 p.m. to 4 p.m. until Dec. 12.

What began as a quest, “to heal my five-year-old self: to empower her to fight for herself, her language and her culture,” the exhibition took on “the intersections of language, culture, institutional racism, anti-blackness and their immeasurable impact within the U.S. territories,” said Robles-Gordon.

A native-born Puerto Rican with family from St. Thomas, St. John, Puerto Rico, Tortola and Antigua, Robles-Gordon created a visual discussion of the historical and political plight and resilience of the District of Columbia, where she resides, and the five U.S. territories that her two-sided quilts represent. They embody the artist’s creation of a political study of the territories and on the reverse side, a spiritual and cultural study.

Robles-Gordon’s early love of art and creativity moved her delight with fabrics, quilts and found objects to the discovery that these could and would be her artistic narrative.

A writer uses words to express; my medium of expression is my art, she said. “I use a myriad of materials according to what I’m trying to convey in a particular project or a particular narrative. It’s very essential that I match up with what I’m trying to convey,” Robles-Gorden said.

The decision to dismiss her native language, Spanish, came as a result of the teasing and ridicule Robles-Gordon experienced as a five-year-old kindergartener at her school in Arlington, Virginia, far away from her birthplace of Puerto Rico. She did not look like a Latina girl that was familiar to her classmates, and hence developed the bullying of this little brown-skinned girl.

In time, Robles-Gordon realized the importance of embracing her language and her culture and the need to find ways to heal through her research and employ it through her art as the medium on her journey to healing.

Speaking of her years as an artist, Robles-Gordon’s journey toward healing is what she brings creatively in her discoveries about U.S. Colonialism, “I think that it’s a beginning. There’s not an end to my journey. It’s a part of my journey. I think I’ve done a hell of a job in starting it. I actually feel proud about it in my own life. That feels good,” she said.

Robles-Gordon made the universe know how important this part of her journey is. “I think I’ve done that,” she said.

“Successions: Traversing U.S. Colonialism” exhibits the component of Robles-Gordon’s body of work containing six quilts embodying the Commonwealth of the District of Columbia, and the five U.S. territories of Guam, the U.S. Virgin Islands, Puerto Rico, the Northern Mariana Islands and American Samoa. The other component, “Place of Birth and Breath,” is the collage on canvas series created in 2020 and exhibited at the Universidad del Sagrado Corazon, (University of the Sacred Heart) in Puerto Rico.

“Place of Birth and Breath” is Robles-Gordon’s 10 mixed-media collage canvases that are a result of the visit with her mother to Puerto Rico where both women recaptured their roots, one of her childhood home, and the other of her birthplace.

“Isla del Encanto” collage, 18×24, 2020. (Courtesy of Amber Robles-Gordon)

A foundational symbology of the “Birth and Breath” body of work is the rubber tree that grows on the campus of the University of the Sacred Heart, which Robles-Gordon was introduced to while in Puerto Rico. “This tree appeared to be a literal fusion of past, present and future states of creation or sustaining an ecosystem. Throughout the series, are abstracted representations of the rubber tree – an entanglement of strong roots – as an example of its resiliency this tree most recently stood-fast to its native soil while 155 mph winds battered the campus,” Robles-Gordon noted.

Robles-Gordon shares her intricate ideas of how she layered her work depicting and interpreting the transitions of day to night and night to day. She relates to three major ethnic/racial groups – the Taino, the Spaniards and Africans, the stranglehold of the United States and the impact of the Caribbean Sea with its threat of hurricanes, scorching summer heat and lush landscapes.

Successions: Traversing U.S. Colonialism at American University exhibition closes on Dec. 12. The journey continues. The conversation continues. The healing continues.

See Amber Robles-Gordon’s website here..

Successions: Traversing US Colonialism Amber Robles-Gordon

August 28–December 12, 2021

American University Museum Curated by
at the Katzen Arts Center Larry Ossei-Mensah

Amber Robles-Gordon presents Successions: Traversing US Colonial- ism, a solo exhibition on view at the American University Museum at the Katzen Arts Center in fall 2021. Successions is a conceptual juxta- position that celebrates abstraction as an art form while leveraging it as a tool to interrogate past and current US policies within its federal district (Washington, DC) and territories (including Guam, Puerto Rico, and the US Virgin Islands) that it controls. By highlighting nuances relat- ed to US governance in its federal districts and territories, Robles-Gor- don seeks to question who has access to resources, citizenship, and the right to sovereignty.

y mi bandera vuela mas alto que la tuya., Mixed Media Collage on Canvas, 18 x 24 in., 2020

Robles-Gordon creates artwork imbued with a layered visual language replete with cultural signifiers and abstract gestures. Successions is a celebration of abstraction as an artistic expression. Robles-Gordon uti- lizes iconic artists like Robert Rauschenberg, Alma Thomas, Romare Bearden, and members of the Washington Color School as vivid refer- ence points for her own dynamic use of color, form, and material within the works she created for the exhibition. These explorations will provide insights into a number of inquiries that undergird the construction of the exhibition. Successions creates a pathway towards discursive crit- icism around issues impacting marginalized communities oppressed by the United States’ hegemonic domestic and foreign policies. The exhibition features a new body of colorful abstract paintings, collages, and quilts created in 2020 and 2021 between San Juan, Puerto Rico (Robles-Gordon’s birthplace) and Washington, DC (where she current- ly lives).

USVI Political, Detail, Front, Mixed Media on Quilt, 86 in. x 90 in., in., 2021

During the height of the COVID-19 pandemic, Robles-Gordon’s creative strategies were directly impacted as a result of sheltering in place in San Juan. The lack of access to materials and arduous circumstances she was confronted with in Puerto Rico and upon returning to Washington, DC catalyzed Robles-Gordon to impro- vise her approach to making works for the exhibition. Moreover, the ex- perience heightened her awareness of how communities on the margin are adversely treated during mo- ments of crisis.

Robles-Gordon’s also uses works featured in Successions to mine the stories, personal narratives, and aesthetics of the women of the Caribbean, particularly of African de- scent, in an effort to investigate the political, socio-economic, and envi- ronmental implications of placemaking, contemporary colonial policy, and notions of citizenship on these social groups. The debate over DC statehood, similar to Puerto Rico, has been a prevalent point of con- tention in the District but rarely featured in the national conversation. Robles-Gordon seeks to use her “backyard” as a metaphor that would

expand our understanding of notions of freedom, liberty, and justice.

A fully illustrated catalog with essays by Ossei-Mensah and Noel Anderson and in-person and virtual programs will accompany the exhibi- tion, enriching the viewer’s experience.

Galería de Arte de la Universidad del Sagrado Corazón, Presents Place of Breath and Birth, Virtual Exhibition of Amber Robles-Gordon

At Sagrado, the well-being of our community comes first. We continue to monitor the development of events related to the worldwide spread of the coronavirus (COVID-19). As a precautionary measure, Sagrado is implementing the practice of social distancing. Therefore, the Art Gallery will remain closed until further notice. Over the years, we have created a community that comes together to appreciate different aesthetic experiences. We want to continue this without putting our visitors at risk. Therefore, we are making this experience available online. Among the new offerings, we share the work of Amber Robles Gordon, who was our visiting artist during the fall semester and, from that experience, has created new works under the title "Place of Breath and Birth".

Amber Robles-Gordon is a mixed media visual artist. Known for recontextualizing non-traditional materials, their assemblies, large sculptures, installations, and public works of art, to emphasize the essentiality of spirituality and temporality within life. Driven by the need to build her own distinctive path, innovate, and challenge social norms, her artwork is unconventional and unformulated. Their creations are representative of their personal experiences and the paradoxes within the imbalance of male and female energies with our society. Ultimately, the intention is to examine the parallels between how humanity perceives its greatest resources, men, and women versus how we treat our possessions and the environment.

I was chosen to be an academic visiting artist from the Art Gallery, Universidad Sagrado Corazón, Santurce, Puerto Rico, (PR) this year. This opportunity meant that at the end of the academic year (April 2020) I was going to exhibit the works created from my experience while visiting Puerto Rico. Due to persistent earthquakes, and the risk they pose to the Sacred community, my exhibition was postponed, later with the onset of the COVID-19 pandemic, new works produced under the title A Place of Encouragement and Birth moved to a platform online.

Isla del Encanto, 18 x 24, 2020

This would be my first opportunity to exhibit in the Caribbean and deepen my relationship with my birthplace, Puerto Rico, Isla del Encanto (the enchanted island). Therefore, I have titled the exhibition, Place of Breath and Birth. The intention of this exhibition is to empower my five-year-old self. To give her the strength to fight for herself and her language. I was born in San Juan, Puerto Rico, and grew up in Arlington, Virginia. My first language was Spanish, but when I was five years old I came home one day from school, and I told my mother: I no longer spoke Spanish. Thereafter, I only responded to my mother who speaks Spanish / English in English.

Elemental: Tierra, Aire, Agua, Fuego, 18 x 24, 2020

Later, I came to understand that I gave up my Spanish language, a critical part of my cultural identity, in order to "adapt" to a version of myself that could possibly match the prescribed box that others had for a brown-skinned girl like me. At the time, we lived on the US mainland, and we lived in an area where there were few people who looked like me and spoke Spanish. Although over time, the insults stopped; Micro-assaults, callous questions, assumptions, and judgments persisted. Throughout this life, time and time again, I have had to choose to identify with my brown /black color over the other cultural ties that unite other Spanish speakers with their culture.

Tendedero, Comunidad y Energía Eterna, 18 x 24, 202

Aunque, mi narrativa personal será el foco principal de estas obras de arte; Continuaré contextualizando la obra de arte dentro de los hilos políticos, socioeconómicos y ambientales que definen y a menudo se utilizan para controlar, alienar o maltratar a los puertorriqueños en general y a los afro-puertorriqueños en particular. Además, mi obra de arte trata sobre las intersecciones de la feminidad, el patriarcado, el hibridismo y el americanismo. En última instancia, espero que esta narrativa y esta obra de arte den voz a otros que caminan en tonos marrones, que respiran dentro de una forma femenina y que no se ajustan a las normas ... pero son audaces y orgullosos.

Botánica del Amor, Autorreflexión y Espiritualidad, 18 x 24, 2020

The Ties that Bind: The church, identity, activism,

 

 

DESCRIPTION

Please join the Office of the Dean, the Diversity Committee, and Gallery O on H for an exhibit of art and photography in honor of Black History Month. The exhibit explores the African American experience in the United States through a collection of documentary photography, oil paintings, and artwork that incorporates weaving and textiles to address issues of identity and belonging.

For over seven generations, Johns Hopkins SAIS has produced graduates who have gone on to tackle some of the most pressing policy challenges in the world. As an internationally-focused school, we push our students to find constructive, collaborative, and thoughtful approaches to solving any problem anywhere. And while the study of race in the United States is not a traditional component of the international affairs curriculum, we continue to incorporate it into our programming as the national dialogue on race in the country has intensified and evolved in recent years. It is in this spirit of seeking greater education and social change that we host this exhibit.

The works in this exhibit have been curated by Shamila N. Chaudhary, Senior Advisor to the Dean and Fellow at the Foreign Policy Institute, who has started an initiative on visual arts with policy impact in mind. For more information, contact schaudhary@jhu.edu.

We are proud to host the following artists:

Sheila Crider
Steven Cummings
Katie Dance
Jay Durrah
Amber Robles-Gordon
Nana Gyesie
Miki Jourdan
Chinedu Osuchukwu
Stacey Lewis
Chris Suspect
Lloyd Wolf
Joy Sharon Yi 


About the Artists

Sheila Crider is an independent mid-career artist based in Washington, DC. She is an active member of Washington Project for the Arts and panelist for the DC Commission on the Arts and Humanities.

Steven Cummings is a photographer based in the Bloomingdale neighborhood of Washington, DC who documents the changes and growing development in the city. He received his MFA at Maryland College Institute of Art.

Katie Dance is a documentary photographer and videographer with a passion for visual storytelling from the Washington, D.C. area. She received her Master's Degree in New Media Photojournalism from George Washington University.

Jay Durrah is a self-taught artist from Western PA who has been sketching since the age of nine. He received a B.A. in Political Science from Howard University.

Amber Robles Gordon is a mixed media visual artist who works with found objects and textile to create assemblages, large-scale sculptures and installations. She completed her Masters of Fine Arts from Howard University.

Nana Gyesie specializes in street, documentary, and portrait photography. His work is shaped by inspiration he draws from lived lives, the public space, and The City, in any country.

Miki Jourdan concentrates on street and environmental portraits, working to take candid photos that bring out people’s inner humanity and the joys and obstacles they face. A non-profit librarian, Miki has lived in Washington's Capitol Hill neighborhood since 2001.

Stacey Lewis is a metro D.C. based street photographer who loves the challenge of connecting the viewer to an ordinary, familiar scene with everyday people and helping them see her subject in a different light.

Chinedu Osuchukwu is a Nigerian-American artist who graduated from The Corcoran College of Art. His work has been featured by Oprah Winfrey’s O Magazine, the Bill and Melinda Gates Foundation, and the Watergate Gallery. Osuchkuwu has also been an art teacher in Washington DC area schools for the past 15 years.”

Chris Suspect is a street and documentary photographer hailing from the Washington, D.C. area. He specializes in capturing absurd and profound moments in the quotidian.

Lloyd Wolf is an award-winning photographer and educator whose work has been in over 100 exhibitions and is collected in numerous museums and private collections. He has taught at Shepherd College, George Mason University, and to homeless and immigrant youth.

Joy Sharon Yi is an independent photographer and filmmaker based in Northern Virginia who uses media as a means for examining important social and historic issues. She received her Master’s degree in New Media Photojournalism at GW's Corcoran School of the Arts and Design. 

About Gallery O on H: Collecting art for 35 years led the Gallery owners, Steve and Dolly, to eventually bring their dream and passion for art to life on H St NE. What started as free shows, curated by Dolly and with not a price tag in site, has grown into a practiced philosophy of cultivating local art, artists, and events open to everyone with a passion for art. 

Kenney Auditorium, School of Advanced International Studies (SAIS), Johns Hopkins University

1740 Massachusetts Avenue, NW 

Washington, DC 20036

Photo credit: Chris Suspect