From selling cognac to shaping a continent, Jean Monnet, known as one of the founding fathers of the European Union, spent a lifetime laying the groundwork for the post-World War II transatlantic alliance. Now, he’s getting a prime perch in D.C.’s Rock Creek Park.
A blockbuster exhibition at the Phillips Collection attempts the difficult feat of both excising and contextualizing a young Spanish artist from and within decades of explosive, iconic creativity and misogyny.
The National Museum of Women in the Arts building is undergoing renovations, but its curators aren’t taking a break. Washingtonians can now visit an exciting off-site exhibition focused on contemporary artists and shifting perspectives at the American University Museum at the Katzen Arts Center through May 22.
“The Merchant of Venice,” currently playing at The Shakespeare Theatre’s Lansburgh stage, has always been known as a “problem play.”
The life of Mir Hussain, chronicled in the documentary “My Childhood, My Country: 20 Years in Afghanistan,” feels distant and foreign yet at the same time deeply relatable and personal.
Guatemala, Central America’s largest nation, often makes headlines, though nearly always for the wrong reasons—violent crime, drug trafficking, natural disasters and illegal immigration. When it comes to uncovering ancient civilizations, however, Guatemala is a world leader.
The Washington Opera Society (WOS) has named Julien Benichou as its new general and artistic director, replacing Michael Reilly, the society’s founder and executive director. Simon Charette, its assistant artistic director, is now general manager of the WOS.
The Hirshhorn’s exciting new experimental exhibition “Laurie Anderson: The Weather” careens through time and theme in a highly effective and often perfectly discordant approach to the artist’s pioneering career.
Tiny inanimate figurines in dollhouse-like boxes give life — and a face — to the universal yearning for happiness and a home in “Flight” at Studio Theatre.
After traveling to over a dozen cities in Europe since 2019, the “LOVE HATE” sculpture by German artist Mia Florentine Weiss is finally returning to its birthplace.
The Hillwood Estate explores the 1920s through the eyes of founder Marjorie Merriweather Post, offering a flashy and fabulous look at the Roaring Twenties through one of the wealthiest figures of the age.
Signature Theater’s ‘Detroit 67’ mixes pain with pleasure. Playwright Dominique Morisseau lets Motown’s feel-good sounds of The Temptations, Martha and the Vandellas, and The Miracles lull you into a sense of tranquility while hitting you with one of the most damaging uprisings in Detroit’s history.
Our audiences and artists are increasingly ready to return and have overwhelmingly done the right thing by getting vaccinated. The thing rooted in respect. Now our venues across the D.C. region should very carefully consider doing the same.
On June 19, Little Lady Liberty embarked on a similar trek that her big sister took 135 years ago, crossing the Atlantic to join her full-size sibling on Ellis Island for America’s Independence Day. She was then trucked to D.C. to be displayed on the lawn of the French ambassador’s residence just in time for France’s Bastille Day.
The Phillips Collection may have hit the grand old age of 100, but its spectacular celebratory exhibition isn’t stuck in the past. Even as the show reflects on the museum’s own history, “Seeing Differently: The Phillips Collects for a New Century” is grappling with the future.
“Dreamland,” which features two photography series by Swedish artist Helene Schmitz as well as an outdoor sound installation, takes a hard look at the impact of humans and technology on the natural world.
