About 1,300 works of art were submitted for review for the ongoing Phillips Collection invitational show Inside Outside, Upside Down, and about seventy works were chosen by the jurors, Elsa Smithgall (Senior Curator, The Phillips Collection), Renée Stout (DC artist and guest curator of the exhibition), Phil Hutinet (publisher of the local news source East City Art), and Abigail McEwan (Associate Professor of Latin American Art at the University of Maryland). I am proud and honored to have been one of the chosen artists – thank you to the jurors.

The jurors awarded the First Prize to Dominick Rabrun’s work titled Dr. LaSalle, The Spider Queen, and Me, a 2021 digital mixed-media video installation. The Second Prize went to Kristina Penhoet’s installation fiber piece titled How Many More? and Honorable Mentions went to Desmond Beach’s fabric and paper work titled #SayTheirNames 2, to Marta Pérez García’s Your Hand, a molded cotton handmade paper and stitching work with yarn, and to Richard L. Williams’ touching photograph titled Claudette, Roman and Rashard – February 2021.

Constant readers know something about me and jurors -- I love to re-review shows and see if I agree or disagree with their choices. Art is a very subjective thing and artists must all have thick skins.

My choice for Best in Show – not just First Prize – would have been Werllayne Nunes’ gigantic oil on panel painting titled Us. The work vibrates with happiness and power and reaches deep into every child’s memories as well as delivering a powerful social message.

Werllayne Nunes, US, 2021, Oil on linen panel, 30 × 60 × 2 1/2 in

Second Prize goes to Carol Antezana’s sensitive portrait photograph titled Las Gringas. She writes about this work:

“Las Gringas is a photographic self-portrait analyzing the balance between being both Bolivian and a first-generation American amid political turmoil and uprisings in both countries. Disagreements about politics have been a specter for many families and the differences are ones of morality, core values, and character, creating tension and division. I was always taunted by my family for being “una gringa” because I cannot speak Spanish perfectly, yet there was no importance in keeping our Indigenous language, Quechua, alive. As a child of immigrant parents, the act of balancing, adopting, and assimilating cultures can be daunting; there are deeply rooted racial double standards in both countries. Through redefining my identity, I am striving to decolonize my mind—my attempt at breaking the intergenerational trauma in my family.”

Carol Antezana - Las Gringas

Honorable Mention goes to Cathy Abramson’s oil painting titled Waiting for Takeout (to go), another cool work which captured the Covidian Age perfectly! 

Cathy Abramson - Waiting for Takeout (to go)

I also like Aaron Maier-Carretero’s somewhat disturbing enormous painting titled not in front of the kids. The palpable, hidden violence is terrifying in the work.

Aaron Maier-Carretero - not in front of the kids

Congrats to all the prizewinners! And to my prizewinners!

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that “If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its black citizens not only reveal loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."

In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States

...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana

“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.”

Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.

General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

Reggie Van Lee was officially sworn as chairperson of the DC Commission on the Arts and Humanities on Thursday, July 1, 2021. Chairperson Van Lee was appointed to the position by Mayor Muriel Bowser for a three-year term, with subsequent reappointments possible.

“It truly is an honor to be appointed chairperson of the arts commission by Mayor Bowser,” said Chairperson Van Lee. “Every DC resident should have the opportunity to access the full spectrum of arts and cultural offerings available in the District, and I look forward to helping the Commission continue its work to make that a reality.”

The Commission is an independent agency in the District of Columbia government that evaluates and initiates action on matters relating to the arts and humanities and encourages programs and the development of programs that promote progress in the arts and humanities. The Commission consists of 18 members appointed by the Mayor with the advice and consent of the DC Council, who serve without compensation.

In 2020, Van Lee chaired the Commission’s Task Force on Equity, Inclusion, and Belonging, which produced a report of 44 recommendations aimed at improving the Commission’s operations and improving access and transparency.

“There is a tremendous amount of knowledge, expertise, and talent amongst the staff and commissioners. Chairperson Van Lee will add to and enhance those abilities with his own, to the ultimate benefit of the District’s arts and cultural sector and our residents,” said Arts Commission Executive Director Heran Sereke-Brhan.

Van Lee is a Partner and Chief Transformation Officer of The Carlyle Group where he helps the firm develop strategies to enhance business processes. He previously served for 32 years as an executive at Booz Allen Hamilton. He has served on the boards of local arts organizations such as The Washington Ballet, Washington Performing Arts, and the John F. Kennedy Center for the Performing Arts.

About 1,300 works of art were submitted for review for the ongoing Phillips Collection invitational show Inside Outside, Upside Down, and about seventy works were chosen by the jurors, Elsa Smithgall (Senior Curator, The Phillips Collection), Renée Stout (DC artist and guest curator of the exhibition), Phil Hutinet (publisher of the local news source East City Art), and Abigail McEwan (Associate Professor of Latin American Art at the University of Maryland). I am proud and honored to have been one of the chosen artists – thank you to the jurors.

The jurors awarded the First Prize to Dominick Rabrun’s work titled Dr. LaSalle, The Spider Queen, and Me, a 2021 digital mixed-media video installation. The Second Prize went to Kristina Penhoet’s installation fiber piece titled How Many More? and Honorable Mentions went to Desmond Beach’s fabric and paper work titled #SayTheirNames 2, to Marta Pérez García’s Your Hand, a molded cotton handmade paper and stitching work with yarn, and to Richard L. Williams’ touching photograph titled Claudette, Roman and Rashard – February 2021.

Constant readers know something about me and jurors -- I love to re-review shows and see if I agree or disagree with their choices. Art is a very subjective thing and artists must all have thick skins.

My choice for Best in Show – not just First Prize – would have been Werllayne Nunes’ gigantic oil on panel painting titled Us. The work vibrates with happiness and power and reaches deep into every child’s memories as well as delivering a powerful social message.

Werllayne Nunes, US, 2021, Oil on linen panel, 30 × 60 × 2 1/2 in

Second Prize goes to Carol Antezana’s sensitive portrait photograph titled Las Gringas. She writes about this work:

“Las Gringas is a photographic self-portrait analyzing the balance between being both Bolivian and a first-generation American amid political turmoil and uprisings in both countries. Disagreements about politics have been a specter for many families and the differences are ones of morality, core values, and character, creating tension and division. I was always taunted by my family for being “una gringa” because I cannot speak Spanish perfectly, yet there was no importance in keeping our Indigenous language, Quechua, alive. As a child of immigrant parents, the act of balancing, adopting, and assimilating cultures can be daunting; there are deeply rooted racial double standards in both countries. Through redefining my identity, I am striving to decolonize my mind—my attempt at breaking the intergenerational trauma in my family.”

Carol Antezana - Las Gringas

Honorable Mention goes to Cathy Abramson’s oil painting titled Waiting for Takeout (to go), another cool work which captured the Covidian Age perfectly! 

Cathy Abramson - Waiting for Takeout (to go)

I also like Aaron Maier-Carretero’s somewhat disturbing enormous painting titled not in front of the kids. The palpable, hidden violence is terrifying in the work.

Aaron Maier-Carretero - not in front of the kids

Congrats to all the prizewinners! And to my prizewinners!

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that “If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its black citizens not only reveal loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."

In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States

...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana

“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.”

Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.

General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

Reggie Van Lee was officially sworn as chairperson of the DC Commission on the Arts and Humanities on Thursday, July 1, 2021. Chairperson Van Lee was appointed to the position by Mayor Muriel Bowser for a three-year term, with subsequent reappointments possible.

“It truly is an honor to be appointed chairperson of the arts commission by Mayor Bowser,” said Chairperson Van Lee. “Every DC resident should have the opportunity to access the full spectrum of arts and cultural offerings available in the District, and I look forward to helping the Commission continue its work to make that a reality.”

The Commission is an independent agency in the District of Columbia government that evaluates and initiates action on matters relating to the arts and humanities and encourages programs and the development of programs that promote progress in the arts and humanities. The Commission consists of 18 members appointed by the Mayor with the advice and consent of the DC Council, who serve without compensation.

In 2020, Van Lee chaired the Commission’s Task Force on Equity, Inclusion, and Belonging, which produced a report of 44 recommendations aimed at improving the Commission’s operations and improving access and transparency.

“There is a tremendous amount of knowledge, expertise, and talent amongst the staff and commissioners. Chairperson Van Lee will add to and enhance those abilities with his own, to the ultimate benefit of the District’s arts and cultural sector and our residents,” said Arts Commission Executive Director Heran Sereke-Brhan.

Van Lee is a Partner and Chief Transformation Officer of The Carlyle Group where he helps the firm develop strategies to enhance business processes. He previously served for 32 years as an executive at Booz Allen Hamilton. He has served on the boards of local arts organizations such as The Washington Ballet, Washington Performing Arts, and the John F. Kennedy Center for the Performing Arts.

About 1,300 works of art were submitted for review for the ongoing Phillips Collection invitational show Inside Outside, Upside Down, and about seventy works were chosen by the jurors, Elsa Smithgall (Senior Curator, The Phillips Collection), Renée Stout (DC artist and guest curator of the exhibition), Phil Hutinet (publisher of the local news source East City Art), and Abigail McEwan (Associate Professor of Latin American Art at the University of Maryland). I am proud and honored to have been one of the chosen artists – thank you to the jurors.

The jurors awarded the First Prize to Dominick Rabrun’s work titled Dr. LaSalle, The Spider Queen, and Me, a 2021 digital mixed-media video installation. The Second Prize went to Kristina Penhoet’s installation fiber piece titled How Many More? and Honorable Mentions went to Desmond Beach’s fabric and paper work titled #SayTheirNames 2, to Marta Pérez García’s Your Hand, a molded cotton handmade paper and stitching work with yarn, and to Richard L. Williams’ touching photograph titled Claudette, Roman and Rashard – February 2021.

Constant readers know something about me and jurors -- I love to re-review shows and see if I agree or disagree with their choices. Art is a very subjective thing and artists must all have thick skins.

My choice for Best in Show – not just First Prize – would have been Werllayne Nunes’ gigantic oil on panel painting titled Us. The work vibrates with happiness and power and reaches deep into every child’s memories as well as delivering a powerful social message.

Werllayne Nunes, US, 2021, Oil on linen panel, 30 × 60 × 2 1/2 in

Second Prize goes to Carol Antezana’s sensitive portrait photograph titled Las Gringas. She writes about this work:

“Las Gringas is a photographic self-portrait analyzing the balance between being both Bolivian and a first-generation American amid political turmoil and uprisings in both countries. Disagreements about politics have been a specter for many families and the differences are ones of morality, core values, and character, creating tension and division. I was always taunted by my family for being “una gringa” because I cannot speak Spanish perfectly, yet there was no importance in keeping our Indigenous language, Quechua, alive. As a child of immigrant parents, the act of balancing, adopting, and assimilating cultures can be daunting; there are deeply rooted racial double standards in both countries. Through redefining my identity, I am striving to decolonize my mind—my attempt at breaking the intergenerational trauma in my family.”

Carol Antezana - Las Gringas

Honorable Mention goes to Cathy Abramson’s oil painting titled Waiting for Takeout (to go), another cool work which captured the Covidian Age perfectly! 

Cathy Abramson - Waiting for Takeout (to go)

I also like Aaron Maier-Carretero’s somewhat disturbing enormous painting titled not in front of the kids. The palpable, hidden violence is terrifying in the work.

Aaron Maier-Carretero - not in front of the kids

Congrats to all the prizewinners! And to my prizewinners!

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that “If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its black citizens not only reveal loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."

In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States

...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana

“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.”

Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.

General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

Reggie Van Lee was officially sworn as chairperson of the DC Commission on the Arts and Humanities on Thursday, July 1, 2021. Chairperson Van Lee was appointed to the position by Mayor Muriel Bowser for a three-year term, with subsequent reappointments possible.

“It truly is an honor to be appointed chairperson of the arts commission by Mayor Bowser,” said Chairperson Van Lee. “Every DC resident should have the opportunity to access the full spectrum of arts and cultural offerings available in the District, and I look forward to helping the Commission continue its work to make that a reality.”

The Commission is an independent agency in the District of Columbia government that evaluates and initiates action on matters relating to the arts and humanities and encourages programs and the development of programs that promote progress in the arts and humanities. The Commission consists of 18 members appointed by the Mayor with the advice and consent of the DC Council, who serve without compensation.

In 2020, Van Lee chaired the Commission’s Task Force on Equity, Inclusion, and Belonging, which produced a report of 44 recommendations aimed at improving the Commission’s operations and improving access and transparency.

“There is a tremendous amount of knowledge, expertise, and talent amongst the staff and commissioners. Chairperson Van Lee will add to and enhance those abilities with his own, to the ultimate benefit of the District’s arts and cultural sector and our residents,” said Arts Commission Executive Director Heran Sereke-Brhan.

Van Lee is a Partner and Chief Transformation Officer of The Carlyle Group where he helps the firm develop strategies to enhance business processes. He previously served for 32 years as an executive at Booz Allen Hamilton. He has served on the boards of local arts organizations such as The Washington Ballet, Washington Performing Arts, and the John F. Kennedy Center for the Performing Arts.

About 1,300 works of art were submitted for review for the ongoing Phillips Collection invitational show Inside Outside, Upside Down, and about seventy works were chosen by the jurors, Elsa Smithgall (Senior Curator, The Phillips Collection), Renée Stout (DC artist and guest curator of the exhibition), Phil Hutinet (publisher of the local news source East City Art), and Abigail McEwan (Associate Professor of Latin American Art at the University of Maryland). I am proud and honored to have been one of the chosen artists – thank you to the jurors.

The jurors awarded the First Prize to Dominick Rabrun’s work titled Dr. LaSalle, The Spider Queen, and Me, a 2021 digital mixed-media video installation. The Second Prize went to Kristina Penhoet’s installation fiber piece titled How Many More? and Honorable Mentions went to Desmond Beach’s fabric and paper work titled #SayTheirNames 2, to Marta Pérez García’s Your Hand, a molded cotton handmade paper and stitching work with yarn, and to Richard L. Williams’ touching photograph titled Claudette, Roman and Rashard – February 2021.

Constant readers know something about me and jurors -- I love to re-review shows and see if I agree or disagree with their choices. Art is a very subjective thing and artists must all have thick skins.

My choice for Best in Show – not just First Prize – would have been Werllayne Nunes’ gigantic oil on panel painting titled Us. The work vibrates with happiness and power and reaches deep into every child’s memories as well as delivering a powerful social message.

Werllayne Nunes, US, 2021, Oil on linen panel, 30 × 60 × 2 1/2 in

Second Prize goes to Carol Antezana’s sensitive portrait photograph titled Las Gringas. She writes about this work:

“Las Gringas is a photographic self-portrait analyzing the balance between being both Bolivian and a first-generation American amid political turmoil and uprisings in both countries. Disagreements about politics have been a specter for many families and the differences are ones of morality, core values, and character, creating tension and division. I was always taunted by my family for being “una gringa” because I cannot speak Spanish perfectly, yet there was no importance in keeping our Indigenous language, Quechua, alive. As a child of immigrant parents, the act of balancing, adopting, and assimilating cultures can be daunting; there are deeply rooted racial double standards in both countries. Through redefining my identity, I am striving to decolonize my mind—my attempt at breaking the intergenerational trauma in my family.”

Carol Antezana - Las Gringas

Honorable Mention goes to Cathy Abramson’s oil painting titled Waiting for Takeout (to go), another cool work which captured the Covidian Age perfectly! 

Cathy Abramson - Waiting for Takeout (to go)

I also like Aaron Maier-Carretero’s somewhat disturbing enormous painting titled not in front of the kids. The palpable, hidden violence is terrifying in the work.

Aaron Maier-Carretero - not in front of the kids

Congrats to all the prizewinners! And to my prizewinners!

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that “If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its black citizens not only reveal loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."

In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States

...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana

“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.”

Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.

General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

Reggie Van Lee was officially sworn as chairperson of the DC Commission on the Arts and Humanities on Thursday, July 1, 2021. Chairperson Van Lee was appointed to the position by Mayor Muriel Bowser for a three-year term, with subsequent reappointments possible.

“It truly is an honor to be appointed chairperson of the arts commission by Mayor Bowser,” said Chairperson Van Lee. “Every DC resident should have the opportunity to access the full spectrum of arts and cultural offerings available in the District, and I look forward to helping the Commission continue its work to make that a reality.”

The Commission is an independent agency in the District of Columbia government that evaluates and initiates action on matters relating to the arts and humanities and encourages programs and the development of programs that promote progress in the arts and humanities. The Commission consists of 18 members appointed by the Mayor with the advice and consent of the DC Council, who serve without compensation.

In 2020, Van Lee chaired the Commission’s Task Force on Equity, Inclusion, and Belonging, which produced a report of 44 recommendations aimed at improving the Commission’s operations and improving access and transparency.

“There is a tremendous amount of knowledge, expertise, and talent amongst the staff and commissioners. Chairperson Van Lee will add to and enhance those abilities with his own, to the ultimate benefit of the District’s arts and cultural sector and our residents,” said Arts Commission Executive Director Heran Sereke-Brhan.

Van Lee is a Partner and Chief Transformation Officer of The Carlyle Group where he helps the firm develop strategies to enhance business processes. He previously served for 32 years as an executive at Booz Allen Hamilton. He has served on the boards of local arts organizations such as The Washington Ballet, Washington Performing Arts, and the John F. Kennedy Center for the Performing Arts.

About 1,300 works of art were submitted for review for the ongoing Phillips Collection invitational show Inside Outside, Upside Down, and about seventy works were chosen by the jurors, Elsa Smithgall (Senior Curator, The Phillips Collection), Renée Stout (DC artist and guest curator of the exhibition), Phil Hutinet (publisher of the local news source East City Art), and Abigail McEwan (Associate Professor of Latin American Art at the University of Maryland). I am proud and honored to have been one of the chosen artists – thank you to the jurors.

The jurors awarded the First Prize to Dominick Rabrun’s work titled Dr. LaSalle, The Spider Queen, and Me, a 2021 digital mixed-media video installation. The Second Prize went to Kristina Penhoet’s installation fiber piece titled How Many More? and Honorable Mentions went to Desmond Beach’s fabric and paper work titled #SayTheirNames 2, to Marta Pérez García’s Your Hand, a molded cotton handmade paper and stitching work with yarn, and to Richard L. Williams’ touching photograph titled Claudette, Roman and Rashard – February 2021.

Constant readers know something about me and jurors -- I love to re-review shows and see if I agree or disagree with their choices. Art is a very subjective thing and artists must all have thick skins.

My choice for Best in Show – not just First Prize – would have been Werllayne Nunes’ gigantic oil on panel painting titled Us. The work vibrates with happiness and power and reaches deep into every child’s memories as well as delivering a powerful social message.

Werllayne Nunes, US, 2021, Oil on linen panel, 30 × 60 × 2 1/2 in

Second Prize goes to Carol Antezana’s sensitive portrait photograph titled Las Gringas. She writes about this work:

“Las Gringas is a photographic self-portrait analyzing the balance between being both Bolivian and a first-generation American amid political turmoil and uprisings in both countries. Disagreements about politics have been a specter for many families and the differences are ones of morality, core values, and character, creating tension and division. I was always taunted by my family for being “una gringa” because I cannot speak Spanish perfectly, yet there was no importance in keeping our Indigenous language, Quechua, alive. As a child of immigrant parents, the act of balancing, adopting, and assimilating cultures can be daunting; there are deeply rooted racial double standards in both countries. Through redefining my identity, I am striving to decolonize my mind—my attempt at breaking the intergenerational trauma in my family.”

Carol Antezana - Las Gringas

Honorable Mention goes to Cathy Abramson’s oil painting titled Waiting for Takeout (to go), another cool work which captured the Covidian Age perfectly! 

Cathy Abramson - Waiting for Takeout (to go)

I also like Aaron Maier-Carretero’s somewhat disturbing enormous painting titled not in front of the kids. The palpable, hidden violence is terrifying in the work.

Aaron Maier-Carretero - not in front of the kids

Congrats to all the prizewinners! And to my prizewinners!

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that “If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its black citizens not only reveal loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."

In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States

...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana

“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.”

Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.

General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

Reggie Van Lee was officially sworn as chairperson of the DC Commission on the Arts and Humanities on Thursday, July 1, 2021. Chairperson Van Lee was appointed to the position by Mayor Muriel Bowser for a three-year term, with subsequent reappointments possible.

“It truly is an honor to be appointed chairperson of the arts commission by Mayor Bowser,” said Chairperson Van Lee. “Every DC resident should have the opportunity to access the full spectrum of arts and cultural offerings available in the District, and I look forward to helping the Commission continue its work to make that a reality.”

The Commission is an independent agency in the District of Columbia government that evaluates and initiates action on matters relating to the arts and humanities and encourages programs and the development of programs that promote progress in the arts and humanities. The Commission consists of 18 members appointed by the Mayor with the advice and consent of the DC Council, who serve without compensation.

In 2020, Van Lee chaired the Commission’s Task Force on Equity, Inclusion, and Belonging, which produced a report of 44 recommendations aimed at improving the Commission’s operations and improving access and transparency.

“There is a tremendous amount of knowledge, expertise, and talent amongst the staff and commissioners. Chairperson Van Lee will add to and enhance those abilities with his own, to the ultimate benefit of the District’s arts and cultural sector and our residents,” said Arts Commission Executive Director Heran Sereke-Brhan.

Van Lee is a Partner and Chief Transformation Officer of The Carlyle Group where he helps the firm develop strategies to enhance business processes. He previously served for 32 years as an executive at Booz Allen Hamilton. He has served on the boards of local arts organizations such as The Washington Ballet, Washington Performing Arts, and the John F. Kennedy Center for the Performing Arts.

About 1,300 works of art were submitted for review for the ongoing Phillips Collection invitational show Inside Outside, Upside Down, and about seventy works were chosen by the jurors, Elsa Smithgall (Senior Curator, The Phillips Collection), Renée Stout (DC artist and guest curator of the exhibition), Phil Hutinet (publisher of the local news source East City Art), and Abigail McEwan (Associate Professor of Latin American Art at the University of Maryland). I am proud and honored to have been one of the chosen artists – thank you to the jurors.

The jurors awarded the First Prize to Dominick Rabrun’s work titled Dr. LaSalle, The Spider Queen, and Me, a 2021 digital mixed-media video installation. The Second Prize went to Kristina Penhoet’s installation fiber piece titled How Many More? and Honorable Mentions went to Desmond Beach’s fabric and paper work titled #SayTheirNames 2, to Marta Pérez García’s Your Hand, a molded cotton handmade paper and stitching work with yarn, and to Richard L. Williams’ touching photograph titled Claudette, Roman and Rashard – February 2021.

Constant readers know something about me and jurors -- I love to re-review shows and see if I agree or disagree with their choices. Art is a very subjective thing and artists must all have thick skins.

My choice for Best in Show – not just First Prize – would have been Werllayne Nunes’ gigantic oil on panel painting titled Us. The work vibrates with happiness and power and reaches deep into every child’s memories as well as delivering a powerful social message.

Werllayne Nunes, US, 2021, Oil on linen panel, 30 × 60 × 2 1/2 in

Second Prize goes to Carol Antezana’s sensitive portrait photograph titled Las Gringas. She writes about this work:

“Las Gringas is a photographic self-portrait analyzing the balance between being both Bolivian and a first-generation American amid political turmoil and uprisings in both countries. Disagreements about politics have been a specter for many families and the differences are ones of morality, core values, and character, creating tension and division. I was always taunted by my family for being “una gringa” because I cannot speak Spanish perfectly, yet there was no importance in keeping our Indigenous language, Quechua, alive. As a child of immigrant parents, the act of balancing, adopting, and assimilating cultures can be daunting; there are deeply rooted racial double standards in both countries. Through redefining my identity, I am striving to decolonize my mind—my attempt at breaking the intergenerational trauma in my family.”

Carol Antezana - Las Gringas

Honorable Mention goes to Cathy Abramson’s oil painting titled Waiting for Takeout (to go), another cool work which captured the Covidian Age perfectly! 

Cathy Abramson - Waiting for Takeout (to go)

I also like Aaron Maier-Carretero’s somewhat disturbing enormous painting titled not in front of the kids. The palpable, hidden violence is terrifying in the work.

Aaron Maier-Carretero - not in front of the kids

Congrats to all the prizewinners! And to my prizewinners!

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that “If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its black citizens not only reveal loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."

In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States

...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana

“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.”

Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.

General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

Reggie Van Lee was officially sworn as chairperson of the DC Commission on the Arts and Humanities on Thursday, July 1, 2021. Chairperson Van Lee was appointed to the position by Mayor Muriel Bowser for a three-year term, with subsequent reappointments possible.

“It truly is an honor to be appointed chairperson of the arts commission by Mayor Bowser,” said Chairperson Van Lee. “Every DC resident should have the opportunity to access the full spectrum of arts and cultural offerings available in the District, and I look forward to helping the Commission continue its work to make that a reality.”

The Commission is an independent agency in the District of Columbia government that evaluates and initiates action on matters relating to the arts and humanities and encourages programs and the development of programs that promote progress in the arts and humanities. The Commission consists of 18 members appointed by the Mayor with the advice and consent of the DC Council, who serve without compensation.

In 2020, Van Lee chaired the Commission’s Task Force on Equity, Inclusion, and Belonging, which produced a report of 44 recommendations aimed at improving the Commission’s operations and improving access and transparency.

“There is a tremendous amount of knowledge, expertise, and talent amongst the staff and commissioners. Chairperson Van Lee will add to and enhance those abilities with his own, to the ultimate benefit of the District’s arts and cultural sector and our residents,” said Arts Commission Executive Director Heran Sereke-Brhan.

Van Lee is a Partner and Chief Transformation Officer of The Carlyle Group where he helps the firm develop strategies to enhance business processes. He previously served for 32 years as an executive at Booz Allen Hamilton. He has served on the boards of local arts organizations such as The Washington Ballet, Washington Performing Arts, and the John F. Kennedy Center for the Performing Arts.

About 1,300 works of art were submitted for review for the ongoing Phillips Collection invitational show Inside Outside, Upside Down, and about seventy works were chosen by the jurors, Elsa Smithgall (Senior Curator, The Phillips Collection), Renée Stout (DC artist and guest curator of the exhibition), Phil Hutinet (publisher of the local news source East City Art), and Abigail McEwan (Associate Professor of Latin American Art at the University of Maryland). I am proud and honored to have been one of the chosen artists – thank you to the jurors.

The jurors awarded the First Prize to Dominick Rabrun’s work titled Dr. LaSalle, The Spider Queen, and Me, a 2021 digital mixed-media video installation. The Second Prize went to Kristina Penhoet’s installation fiber piece titled How Many More? and Honorable Mentions went to Desmond Beach’s fabric and paper work titled #SayTheirNames 2, to Marta Pérez García’s Your Hand, a molded cotton handmade paper and stitching work with yarn, and to Richard L. Williams’ touching photograph titled Claudette, Roman and Rashard – February 2021.

Constant readers know something about me and jurors -- I love to re-review shows and see if I agree or disagree with their choices. Art is a very subjective thing and artists must all have thick skins.

My choice for Best in Show – not just First Prize – would have been Werllayne Nunes’ gigantic oil on panel painting titled Us. The work vibrates with happiness and power and reaches deep into every child’s memories as well as delivering a powerful social message.

Werllayne Nunes, US, 2021, Oil on linen panel, 30 × 60 × 2 1/2 in

Second Prize goes to Carol Antezana’s sensitive portrait photograph titled Las Gringas. She writes about this work:

“Las Gringas is a photographic self-portrait analyzing the balance between being both Bolivian and a first-generation American amid political turmoil and uprisings in both countries. Disagreements about politics have been a specter for many families and the differences are ones of morality, core values, and character, creating tension and division. I was always taunted by my family for being “una gringa” because I cannot speak Spanish perfectly, yet there was no importance in keeping our Indigenous language, Quechua, alive. As a child of immigrant parents, the act of balancing, adopting, and assimilating cultures can be daunting; there are deeply rooted racial double standards in both countries. Through redefining my identity, I am striving to decolonize my mind—my attempt at breaking the intergenerational trauma in my family.”

Carol Antezana - Las Gringas

Honorable Mention goes to Cathy Abramson’s oil painting titled Waiting for Takeout (to go), another cool work which captured the Covidian Age perfectly! 

Cathy Abramson - Waiting for Takeout (to go)

I also like Aaron Maier-Carretero’s somewhat disturbing enormous painting titled not in front of the kids. The palpable, hidden violence is terrifying in the work.

Aaron Maier-Carretero - not in front of the kids

Congrats to all the prizewinners! And to my prizewinners!

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that “If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its black citizens not only reveal loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."

In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States

...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana

“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.”

Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.

General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

Reggie Van Lee was officially sworn as chairperson of the DC Commission on the Arts and Humanities on Thursday, July 1, 2021. Chairperson Van Lee was appointed to the position by Mayor Muriel Bowser for a three-year term, with subsequent reappointments possible.

“It truly is an honor to be appointed chairperson of the arts commission by Mayor Bowser,” said Chairperson Van Lee. “Every DC resident should have the opportunity to access the full spectrum of arts and cultural offerings available in the District, and I look forward to helping the Commission continue its work to make that a reality.”

The Commission is an independent agency in the District of Columbia government that evaluates and initiates action on matters relating to the arts and humanities and encourages programs and the development of programs that promote progress in the arts and humanities. The Commission consists of 18 members appointed by the Mayor with the advice and consent of the DC Council, who serve without compensation.

In 2020, Van Lee chaired the Commission’s Task Force on Equity, Inclusion, and Belonging, which produced a report of 44 recommendations aimed at improving the Commission’s operations and improving access and transparency.

“There is a tremendous amount of knowledge, expertise, and talent amongst the staff and commissioners. Chairperson Van Lee will add to and enhance those abilities with his own, to the ultimate benefit of the District’s arts and cultural sector and our residents,” said Arts Commission Executive Director Heran Sereke-Brhan.

Van Lee is a Partner and Chief Transformation Officer of The Carlyle Group where he helps the firm develop strategies to enhance business processes. He previously served for 32 years as an executive at Booz Allen Hamilton. He has served on the boards of local arts organizations such as The Washington Ballet, Washington Performing Arts, and the John F. Kennedy Center for the Performing Arts.

About 1,300 works of art were submitted for review for the ongoing Phillips Collection invitational show Inside Outside, Upside Down, and about seventy works were chosen by the jurors, Elsa Smithgall (Senior Curator, The Phillips Collection), Renée Stout (DC artist and guest curator of the exhibition), Phil Hutinet (publisher of the local news source East City Art), and Abigail McEwan (Associate Professor of Latin American Art at the University of Maryland). I am proud and honored to have been one of the chosen artists – thank you to the jurors.

The jurors awarded the First Prize to Dominick Rabrun’s work titled Dr. LaSalle, The Spider Queen, and Me, a 2021 digital mixed-media video installation. The Second Prize went to Kristina Penhoet’s installation fiber piece titled How Many More? and Honorable Mentions went to Desmond Beach’s fabric and paper work titled #SayTheirNames 2, to Marta Pérez García’s Your Hand, a molded cotton handmade paper and stitching work with yarn, and to Richard L. Williams’ touching photograph titled Claudette, Roman and Rashard – February 2021.

Constant readers know something about me and jurors -- I love to re-review shows and see if I agree or disagree with their choices. Art is a very subjective thing and artists must all have thick skins.

My choice for Best in Show – not just First Prize – would have been Werllayne Nunes’ gigantic oil on panel painting titled Us. The work vibrates with happiness and power and reaches deep into every child’s memories as well as delivering a powerful social message.

Werllayne Nunes, US, 2021, Oil on linen panel, 30 × 60 × 2 1/2 in

Second Prize goes to Carol Antezana’s sensitive portrait photograph titled Las Gringas. She writes about this work:

“Las Gringas is a photographic self-portrait analyzing the balance between being both Bolivian and a first-generation American amid political turmoil and uprisings in both countries. Disagreements about politics have been a specter for many families and the differences are ones of morality, core values, and character, creating tension and division. I was always taunted by my family for being “una gringa” because I cannot speak Spanish perfectly, yet there was no importance in keeping our Indigenous language, Quechua, alive. As a child of immigrant parents, the act of balancing, adopting, and assimilating cultures can be daunting; there are deeply rooted racial double standards in both countries. Through redefining my identity, I am striving to decolonize my mind—my attempt at breaking the intergenerational trauma in my family.”

Carol Antezana - Las Gringas

Honorable Mention goes to Cathy Abramson’s oil painting titled Waiting for Takeout (to go), another cool work which captured the Covidian Age perfectly! 

Cathy Abramson - Waiting for Takeout (to go)

I also like Aaron Maier-Carretero’s somewhat disturbing enormous painting titled not in front of the kids. The palpable, hidden violence is terrifying in the work.

Aaron Maier-Carretero - not in front of the kids

Congrats to all the prizewinners! And to my prizewinners!

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that “If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its black citizens not only reveal loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."

In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States

...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana

“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.”

Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.

General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

Reggie Van Lee was officially sworn as chairperson of the DC Commission on the Arts and Humanities on Thursday, July 1, 2021. Chairperson Van Lee was appointed to the position by Mayor Muriel Bowser for a three-year term, with subsequent reappointments possible.

“It truly is an honor to be appointed chairperson of the arts commission by Mayor Bowser,” said Chairperson Van Lee. “Every DC resident should have the opportunity to access the full spectrum of arts and cultural offerings available in the District, and I look forward to helping the Commission continue its work to make that a reality.”

The Commission is an independent agency in the District of Columbia government that evaluates and initiates action on matters relating to the arts and humanities and encourages programs and the development of programs that promote progress in the arts and humanities. The Commission consists of 18 members appointed by the Mayor with the advice and consent of the DC Council, who serve without compensation.

In 2020, Van Lee chaired the Commission’s Task Force on Equity, Inclusion, and Belonging, which produced a report of 44 recommendations aimed at improving the Commission’s operations and improving access and transparency.

“There is a tremendous amount of knowledge, expertise, and talent amongst the staff and commissioners. Chairperson Van Lee will add to and enhance those abilities with his own, to the ultimate benefit of the District’s arts and cultural sector and our residents,” said Arts Commission Executive Director Heran Sereke-Brhan.

Van Lee is a Partner and Chief Transformation Officer of The Carlyle Group where he helps the firm develop strategies to enhance business processes. He previously served for 32 years as an executive at Booz Allen Hamilton. He has served on the boards of local arts organizations such as The Washington Ballet, Washington Performing Arts, and the John F. Kennedy Center for the Performing Arts.

About 1,300 works of art were submitted for review for the ongoing Phillips Collection invitational show Inside Outside, Upside Down, and about seventy works were chosen by the jurors, Elsa Smithgall (Senior Curator, The Phillips Collection), Renée Stout (DC artist and guest curator of the exhibition), Phil Hutinet (publisher of the local news source East City Art), and Abigail McEwan (Associate Professor of Latin American Art at the University of Maryland). I am proud and honored to have been one of the chosen artists – thank you to the jurors.

The jurors awarded the First Prize to Dominick Rabrun’s work titled Dr. LaSalle, The Spider Queen, and Me, a 2021 digital mixed-media video installation. The Second Prize went to Kristina Penhoet’s installation fiber piece titled How Many More? and Honorable Mentions went to Desmond Beach’s fabric and paper work titled #SayTheirNames 2, to Marta Pérez García’s Your Hand, a molded cotton handmade paper and stitching work with yarn, and to Richard L. Williams’ touching photograph titled Claudette, Roman and Rashard – February 2021.

Constant readers know something about me and jurors -- I love to re-review shows and see if I agree or disagree with their choices. Art is a very subjective thing and artists must all have thick skins.

My choice for Best in Show – not just First Prize – would have been Werllayne Nunes’ gigantic oil on panel painting titled Us. The work vibrates with happiness and power and reaches deep into every child’s memories as well as delivering a powerful social message.

Werllayne Nunes, US, 2021, Oil on linen panel, 30 × 60 × 2 1/2 in

Second Prize goes to Carol Antezana’s sensitive portrait photograph titled Las Gringas. She writes about this work:

“Las Gringas is a photographic self-portrait analyzing the balance between being both Bolivian and a first-generation American amid political turmoil and uprisings in both countries. Disagreements about politics have been a specter for many families and the differences are ones of morality, core values, and character, creating tension and division. I was always taunted by my family for being “una gringa” because I cannot speak Spanish perfectly, yet there was no importance in keeping our Indigenous language, Quechua, alive. As a child of immigrant parents, the act of balancing, adopting, and assimilating cultures can be daunting; there are deeply rooted racial double standards in both countries. Through redefining my identity, I am striving to decolonize my mind—my attempt at breaking the intergenerational trauma in my family.”

Carol Antezana - Las Gringas

Honorable Mention goes to Cathy Abramson’s oil painting titled Waiting for Takeout (to go), another cool work which captured the Covidian Age perfectly! 

Cathy Abramson - Waiting for Takeout (to go)

I also like Aaron Maier-Carretero’s somewhat disturbing enormous painting titled not in front of the kids. The palpable, hidden violence is terrifying in the work.

Aaron Maier-Carretero - not in front of the kids

Congrats to all the prizewinners! And to my prizewinners!

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that “If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its black citizens not only reveal loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."

In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States

...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana

“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.”

Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.

General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd.