Peggy Loar: The First Few Days

The Corcoran’s new Consulting Director Peggy Loar’s first few days on the job were packed—meetings with Trustees, faculty, staff, and students, a tour with chief curator Philip Brookman, and interviews with the press. Here, she discusses her excitement about the Corcoran staff, partnering with the University of Maryland and addressing the challenges ahead. For a letter from Peggy and a short bio, click here.

What’s been the biggest surprise about your first few days on the job?

I have encountered an amazingly talented and now optimistic Corcoran staff who are eager for creative investigation and action as to how we engage with the expertise and services available to us from the University of Maryland. This wasn’t so much a surprise as it was a validation of purpose on behalf of an institution they are seriously committed to.

You are known in the museum world for working on “start-ups”—the National Museum of Qatar, Wolfsonian Museum and Research Center, and COPIA: The American Center for Wine, Food and the Arts. How does your experience launching new museums help you to make decisions about an institution with a long history?

There is an entrepreneurial side to starting up a new museum. Each of my experiences has required a love of invention and exploration, an insistence on quality, and a determination to find the right niche and focus—as well as engagement with top talent. These same elements, combined with a great respect for the institution and its history, will be required to enhance and morph the amazing Corcoran. Bringing its history together with a modern approach is not only doable—it’s very exciting.

What would you say to a student who is

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worried that the University of Maryland is “taking over” the Corcoran?

The Board and I have heard the voices of our students and will continue to listen to their concerns and ideas. Almost all have made it clear that the intimacy of the Corcoran experience helps nurture their creativity. They don’t want to lose that. At the same time, some faculty have expressed the desire for an adjunct appointment with the University. We want to explore and offer options so that students might receive either a solo Corcoran degree or a combined degree with the University of Maryland. Faculty might have a choice between remaining only Corcoran based or taking a joint appointment.

What about the potential partnership with the University of Maryland is most exciting for you?

Together we can expand learning opportunities. Enhancing certain subjects by combining them with others could be really cool. For example, bringing Corcoran design students together with Maryland engineering students could result in new gadgets and products—stretching “design think” into “design practice” and even income! Or consider the potential of exhibitions co-organized by Corcoran curators and Maryland art historians. Equally exciting are the opportunities for art students to have access to the technology labs and faculty expertise at the University as they explore all manner of new media in relation to their studies and work.

If you were going to enroll in the Corcoran as a student, what would you study?

I would have to select something I haven’t done before. Probably both photojournalism—which fascinates me both artistically and ethically—and digital media design—because it’s the future.

Is it true you were a bowling champ in Cincinnati, Ohio?

Yes, I was an Ohio state bowling champion at age 14. I can’t believe I just admitted that, and no, we’re not putting a bowling alley in the Corcoran!

NEXT at the Corcoran: Class of 2013

Visit the NEXT 2013 website for more details about the exhibition, students and events.

This annual festival celebrates work by the graduating students of the Corcoran College of Art + Design. NEXT includes both an exhibition of the thesis work of the Bachelor of Fine Arts class of 2013 and a showcase of the Bachelors and Masters of Arts degree programs at the Corcoran. Visitors to NEXT are welcome to observe thesis critiques—discussions between the artists and their peers and instructors—and gain insights into the artistic process.

On view April 6 – May 19; Free admission

Interview with Visiting Artist Simon Reynolds–part II

Simon Reynolds is coming to the Corcoran as a Visiting Artist to meet students and is giving a public talk on April 23 (register now). In part I, he discussed punk, grime, and the connection between pop music and the visual arts. Here, he talks about David Bowie, DIY, and graphic design.

Left, Masayoshi Sukita/The David Bowie Archive 2012; right, Jimmy King
Left, Masayoshi Sukita/The David Bowie Archive 2012; right, Jimmy King

In your recent New York Times piece on David Bowie’s new album, you wrote, “The Bowie-esque has been omnipresent.” How would you describe Bowie’s influence on the visual arts? Is there another recording artist with a comparable influence?

I don’t know much about any direct influence on artists he’s had. But he’s really beloved in the art world, as he is in the fashion world, in part because he’s paid so much attention to that side of pop—he’s really knowledgeable. Bowie was actually a critic for a while at Modern Painters in the Nineties, wasn’t he? But he’s also written songs about artists—“Andy Warhol,” “Joe the Lion”—which is partly about Chris Burden. So there’s a kind of mutual admiration pact between Bowie and the art world. Same with Roxy Music.

The recent Corcoran exhibition Pump Me Up celebrates DIY DC subculture of the 80s—hardcore and go-go music. How can today’s art school students profit by the lessons of untrained artists and musicians?

My talk is going to be about the history of DIY and how it’s changed in the digital age. I don’t want to give too much away, but it is a polemical argument and one of the things I will be suggesting is that there is no special virtue to be claimed for doing-it-yourself. Simply doing-it-yourself doesn’t guarantee that the “it” you’re doing is worthwhile or significant.

If you listen to a lot of “underground” music, it’s actually pretty slick and shiny.

I’m also not sure that the equation between “do it yourself” and “untrained” holds anymore, if “untrained” is meant to signify amateurish, messy, raw, etc. Because digital facilitation software means that you can produce really glossy, polished, professional sounding and looking stuff at minimal cost. To be lo-fi, ragged, etc. is a deliberate aesthetic choice, a refusal of professionalism—in some ways more contrived than just letting your progams tidy up your work. The kind of “brut”-like authenticity or raw power that was once attributed to unfinished or messy, defective music/art/etc.—that equation no longer works, I don’t think. If you listen to a lot of “underground” (another word that is increasingly vaporous and unstable these days) music, it’s actually pretty slick and shiny.

Favorite artists, graphic designers, photojournalists?

I don’t have a mental list of favorite artists like I do with music. I can tell you a few things in recent years that I’ve found powerful. Mark Leckey’s “Fiorucci Made Me Hardcore.” Phil Collins’s “The World Won’t Listen.” Paul Chan’s “7 Lights”…. I’m sure there must be others.


Graphic designers, I tend to think of ‘music,’ and in that category I do like the obvious postpunk ones (Malcolm Garrett, Barney Bubbles, Peter Saville, etc.), the obvious techno-rave ones (like Designers Republic, others where I don’t know the designer as such but I just like the label’s look, e.g., Reinforced Records, PCP, Underground Resistance). Then more recently I really like the work of Julian House of Intro, who has done sleeves for Broadcast and Stereolab, but also is the co-founder of the label Ghost Box, for whom he does all the artwork as well as recording under the name The Focus Group. I also really like the look of the releases put out by Ian Hodgson as Moon Wiring Club, an example of the syndrome of the contemporary musician who handles the audio-visual output in its entirety.



Want to learn more about Simon? Read part I of our interview with him.


Reynolds is the author of seven books about music and pop culture, including “Retromania: Pop Culture’s Addiction to Its Own Past”  (Faber & Faber, 2011), “Rip It Up and Start Again: Postpunk 1978-84″ (Faber & Faber, 2005),  “Energy Flash: A Journey Through Rave Music and Dance Culture,” (reissued in updated form 2012 by Soft Skull; originally published in America as “Generation Ecstasy: Into The World of Techno and Rave Culture,” Little Brown 1998).

Coming from the art and design worlds as well as literature, journalism, media, culture, entertainment, and fashion, The Corcoran College of Art + Design’s Visiting Artists enrich the Corcoran community with fresh perspectives and intensive interactions with students and faculty. Simon Reynold’s Visiting Artist Lecture happens on April 23 (register now). 

Visiting Artist Simon Reynolds Talks Punk, Grime, Pop & Visual Arts

Simon Reynolds is coming to the Corcoran as a Visiting Artist to meet students and is giving a public talk on April 23 (register now). In part I of his Unveiled interview, he talks about punk, grime, and the connection between pop music and the visual arts.

Simon Reynolds
Photo: Joy Press

What was your first musical love?

My first musical love would be things I heard through my parents, so Beethoven’s Pastoral Symphony, musicals like High Society and West Side Story. And things heard off the radio like “Strawberry Fields Forever” and “Yellow Submarine.” The first musical love I made for myself, though, would be punk—specifically, the Sex Pistols, Ian Dury and the Blockheads, X Ray Spex, the Slits.


 What’s the difference between listening as a fan and listening as a critic?

I’ve been doing it as a critic for so long I’m not sure I can remember. I was listening like a critic before I actually was one, because I was such an ardent reader of the British music press and already half-knew that’s what I was going to be when I grew up. As far as I can tell, the main difference is that you listen not just for pleasure but always with the formation of new ideas as a goal. You want the music not just to satisfy but to give you new thoughts and new sensations. So this inevitably creates a bias, a distortion of sensibility.

For instance whenever I have written really rampantly about a new form of music—like, say, grime in the early 2000s, at a certain point I’ll have said everything I’m capable of saying on the subject. Unless the music keeps moving ever onwards, it won’t be able to stimulate new ideas in me. Most genres settle down after a while—even the most exciting and fast-moving ones can’t sustain that pace forever.

A critic—or at least critic of the kind I am—is always looking for the next leap forward, the new development.

People who are just fans, who purely enjoy the genre, will probably stick around longer than a critic-obsessive. But for someone like me, the way I’m wired, I will want to move on. It may well be that genre continues to generate quality tunes, but if the broader contours of the genre or scene aren’t evolving or mutating, then there’s nothing more to say about it. So that is kind of occupational hazard or limitation—that you are not that interested in genres, or individual artists for that matter, who just solidly plug away churning out good-to-great stuff. A critic—or at least critic of the kind I am—is always looking for the next leap forward, the new development. Because it forces your mind to come up with new ideas, new language.

How has technology (LPs vs. MP3s, studio vs. laptop, whatever) changed the way we experience music?

A book could be written about this subject. Well, books have been. And indeed my book Retromania is partly about that. The short answer is that listening has become a lot more convenience-oriented. Our ability to move it around, pause and restart it, share it, make playlists of it, acquire it, check it out without paying for it, has astronomically increased, through mp3s, iPods, Soundcloud, Youtube, etc etc. But something of its aura has been damaged; it has been depreciated, like a currency that’s too common. The idea of the album as a whole work that you reverently listen to, an aesthetic experience that you submit to—that is something that you have to make a really conscious effort to recreate. Especially if you’re listening on the same machine that you also access the internet, social media, etc, on. The temptation is always to multitask and do something else while you listen. Partial-attention syndrome.

Any observations on the link between music and the visual arts?

Again, books have been written, etc. A very good one is Simon Frith and Howard Horne’s Art Into Pop, which is all about the British art school tradition of forming bands. And I explore the same kind of connections in my own books like Rip It Up and Start Again, about postpunk, where so many of those groups, in the UK and in America, were formed by art school graduates. Ian Dury is a great example of this—a pupil of Peter Blake (of Sgt. Pepper’s cover fame), Dury did art teaching himself in his pre-fame days.

Music—or at least pop music—is a visual art in itself.

However I would flip the question and argue that music—or at least pop music—is a visual art in itself. The instances of popular youth music that are purely about the music are quite rare instances—even Deadhead culture, which would seem to be not very style oriented, has a lot to do with light shows and trippy colors (not forgetting the whole tie-dye thing). But specifically in terms of capital A “Art,” pop music has always been as much about clothes, stage moves, theatricality, spectacle… about packaging, album covers, posters, T-shirts, logos, promotional campaigns … about videos and films too.

Pop is a messy hybrid of music, visuals, lyrics, business, discourse. In the early decades of pop and rock, pop stars usually had teams of experts providing these elements: a group would have favorite photographers, or fashion designers they worked with, promo directors, graphic artists doing the logo and the album covers. Groups that took a very active and informed direct involvement in directing all of that were quite unusual—the David Bowies and Roxy Musics and Talking Heads. However as the years have gone by it’s more and more the case that bands involve themselves intensely in all the para-musical aspects of the band. Look at a group like Vampire Weekend, who design their own record covers and clearly have firm opinions about typography and such like. The new DIY artists in underground music often create the whole package themselves—the music, but also the record covers and the little abstract or weird promos they put on YouTube. I guess the software used in all these processes is not only affordable, but the skills required are transferable.


Reynolds is the author of seven books about music and pop culture, including “Retromania: Pop Culture’s Addiction to Its Own Past”  (Faber & Faber, 2011), “Rip It Up and Start Again: Postpunk 1978-84” (Faber & Faber, 2005),  “Energy Flash: A Journey Through Rave Music and Dance Culture,” (reissued in updated form 2012 by Soft Skull; originally published in America as “Generation Ecstasy: Into The World of Techno and Rave Culture,” Little Brown 1998).

In part II of this interview, Reynolds talks about David Bowie, DIY, and graphic design, so stay tuned. 

What’s NEXT in 2013 with Corcoran People

NEXT at the Corcoran 2013 opens Saturday, April 6, and Corcoran People have been hard at work on installation and putting the final touches on their pieces.

Joe Hale

Joe Hale and Chris Cunningham work on the inaugural NEXT exhibition in 2011.

Joe has worked with MA Exhibition Design candidates to develop layouts for each of the exhibition spaces, creating plans to accommodate the installation needs of a wide variety of majors and media.

Instagram #corclife is a great place for install shots as they happen:


from @jordanahallphoto Jordana Hall, BFA Photojournalism



from @kelsa_ Kelsey Scherer, BFA Graphic Design (of @lookitsmaggie, BFA Graphic Design)

3a3f1af48c1111e2914322000a1f984e_7@mattrosephotography Matt Rose, BFA Photojournalism



from @gabrielaescala Gaby Escala, BFA Digital Media



from @equimby Ellamarie Quimby, BFA Photography/MA Teaching

Alexandra Collins

(See Alexandra’s portfolio here.)

Alexandra’s NEXT thesis

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included sculptural and digital media. Below, Alexandra gets help installing part of “M”. Of the piece, she says, “Instead of just designing a 2-D spread with a large M on it, I wanted to make it even more visual and appealing. A space in a gallery sounded like the perfect opportunity.”

“M” in progress.


from @kelsa_ Kelsey Scherer, BFA Graphic Design


Maria Habib

Maria and Design Lab with the 3-D NEXT wordmark!
Maria and Design Lab with the 3-D NEXT wordmark!

Maria and Design Lab 2013 created the identity for NEXT 2013. This year’s design theme is Multifacets, representing the unification of the different aspects of our community that make it “One Corcoran.”


The invitations doubled as a cool folded card distributed around the city.




And the signs went up:




The students are working with Davide Prete’s sculpture class to build three-dimensional letters, a process that spanned:

digital layout


by @alliekaynambo Allie Nambo, BFA Graphic Design, Design Lab manager



by @maninoush, Maria Habib, Senior Director of Design


wide-format printouts


by @alliekaynambo Allie Nambo, BFA Graphic Design, Design Lab manager


cutting out


by @alliekaynambo Allie Nambo, BFA Graphic Design, Design Lab manager


and assembly


by @maninoush, Maria Habib, Senior Director of Design



by @elijahrose


by @insomniacronym, James Bonilla, Junior, BFA Graphic Design

There are more pics on Instagram, just search #corclife and #corcdesignlab. You can also follow Design Lab on Facebook.


Armando Lopéz-Bircann
and Jason Edward Tucker

(See their portfolios here and here.)

Armando and Jason have been instagramming sneak peeks of work that may be appearing in NEXT. See what you recognize when the show opens:

From Jason @jasonedwardtucker





And Armando @artlobi





NEXT at the Corcoran 2013 runs April 6 – May 19, 2013. Admission to NEXT is free.

From “Pump Me Up” to “Ill Street Blues” to “Mumbo Sauce”

Don’t miss out. There are just a few days left to check out Pump Me Up: D.C. Subculture of the 1980s.

The exhibition is on view through Sunday, April 7. As a thank-you to our community, the Corcoran welcomes everyone to visit for FREE on Saturday, April 6, all museum hours (10 a.m. – 5 p.m.).

On Sunday at 2 p.m., Pretty Boy (below, with some of his 80s memorabilia on display) performs one of his legendary breakdancing and popping routines  in the north Atrium.

Pretty Boy


The Pump Me Up-inspired exhibition Ill Street Blues is currently on view in Gallery 31:

Organized by the Corcoran College of Art + Design, this exhibition displays painted and pasted murals executed directly on the walls. Artists include HKS181, PORE, MASPAZ, EXIST, TUC, REI21, ADAPT, QUILL, ZECO, FAME, EXPO, KOHEI, Mensa Kondo, Arthur K. Lee, Ignacio Joseph Orzal, Jeanette Sawyer, Alexandra Bubb, and Jordan Sanders. Gallery 31 is free to the public everyday during regular museum hours.

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Opening this Friday at 906 H Street NE: MUMBO SAUCE, a gallery exhibition jointly organized by Pump Me Up curator Roger Gastman and the Contemporary Wing’s Lauren Gentile.

The exhibition explores how such factors as Go-Go, graffiti, punk, hardcore, graphic design and fine art have shaped and influenced the work of these artists. Participating artists include BORF, Richard Colman, Cynthia Connolly, Tim Conlon, COOL “DISCO” DAN, Clark Fox, Mark Jenkins, Rosina Teri Memolo, Mingering Mike, and Robin Rose. Authentic Globe Posters will be available for sale.



Here’s to a weekend of art, graffiti, Globe Posters, and breakdancing. Thank you to everyone who was there in the 1980s—and to everyone today making the D.C. cultural scene.

ARTINI 2013: Total Round-Up

Presented by the Corcoran’s 1869 Society, ARTINI 2013 was a vibrant night of art-inspired cocktails, fashion, and entertainment. This year Frank Jones from the Gibson walked away as the “Critics’ Choice” top pick while Joe Ambrose from P.O.V. emerged as the “Fan Favorite.” Check out the night via Instagram, then see what others caught in their reviews.

But first, here was our favorite Instagram photo of the night. Thanks @gressmess for partying—we hope you enjoy our gift of an individual membership to the Corcoran. For everyone else, being a member has some great benefits, so join now.



Live: DIY D.C. Panel Discussion

During the 1980s, Washington’s go-go and punk scenes adhered to different sets of cultural rules, yet both shared a staunchly DIY approach. This panel discussion, moderated by Alona Wartofsky, a former writer and editor for City Paper and The Washington Post, explored the music and gang cultures of pre-gentrification D.C. Panelists included Trouble Funk’s “Big” Tony Fisher, Rare Essence’s Andre “Whiteboy” Johnson (check out this interview excerpted from the Pump Me Up Catalogue), longtime Washington music writer Mark Jenkins, former D.C. Police detective Donald “Goose” Gossage, and Gangster George, a former member of the Gangster Chronicles crew.

 Recorded on March 28, 2013 at the Corcoran Gallery of Art.

Corcoran Faculty Remember D.C. in the 80s

“D.C. in the 80s was a very special time for artists. Younger artists were drawn to the city because the scene was changing so quickly, more open and willing to lose its button-down requirements. It lasted a decade before it crashed, and without pretense that it was New York or L.A., it left its mark on the artists who were participants.”                     – John Dickson

Sparked by Pump Me Up: D.C. Subculture of the 1980s (on view through April 7), Corcoran faculty reminisce. This week is full of programs, including Gallery Talks, a movie screening, and an exhibition opening in Gallery 31. Here’s what’s happening on Wednesday and Thursday night. Now, let’s see what Antje, John, Steven, and Georgia have to say…

ANTJE KHARCHI (associate professor, Digital Media Design):

Science-image As a foreign student I was only allowed to work gigs that were made available through the Corcoran. Tim Gunn told me about a photo shoot for which Science 84 magazine needed some student models, and he liked my Indian scarves. We were taken to our Georgetown campus on R Street, into a room with a model and a bunch of computers and were told to act like a computer drawing class. I was the teacher, in a white lab coat. Later that year the first Mac was introduced, and in 1987 I started teaching computer classes—without the lab coat.

As for music… Grace Jones was always on in our studios:


And of course the Go-Gos all over town—Chuck Brown:

E.U. (I got to go to one of Sugar Bear’s pool parties):

And who could forget the movie Liquid Sky!

GEORGIA DEAL (program head, Printmaking):

We were living in our studio at North Capitol and N streets NW, in the midst of DC’s main PCP-dealing zone.  Often we’d watch FBI agents planting surveillance cameras on the rooftop. Or finding our building on the late-night news featuring live drug busts, always accompanied by the loud bass thump of go-go everywhere.   A large number of artists inhabited this building, and we’d emerge in the mornings and depart to find our building and cars tagged.  Names such as Go-Go Shirley and Lunchin’ Lisa were particular ones I remember.  They inspired me to make prints about these characters, their tags being so intriguing.  These names evoked narratives as well in the work.  Later, I learned that Lunchin’ Lisa was a tag for someone involved with the H Street murders that summer.  No longer so amusing…. screenshot-Rayful-Edmond_000 We then moved to Petworth, again a big center for Go-Go you’d hear into the early hours of the morning along Upshur Street NW and Georgia Avenue.  My neighbor was a lawyer who represented Rayful Edmond there.  She was always up late, telling neighbors in our alley about Rayful and his antics, trying to persuade us he was one of the good guys.

STEVEN CUSHNER (adjunct faculty):

For a few years, and for many of us, this was the center of the art world.

I arrived in town in 1978. The first Sunday Washington Post that I read featured an article by Bob Arnebeck about the death of Howard Mehring, describing Washington as a terrible place to be an artist. Coming from Cleveland, OH, I felt right at home. Here are some places—apart from the 9:30 Club, which is so well documented in Pump Me Up—that thrived, despite it all.

Howard Mehring, Untitled, Painting – Magna on canvas, 1963
  • The WPA (Washington Project for the Arts). The 1970s was not a good time for America’s cities—at night, most were empty, dead, and a bit scary, and Washington was no different. In 1975, at 12th and G Streets NW, Alice Denney had opened WPA, a true alternative to both the museum world and the commercial gallery scene, combining her vision and lots of space, thousands of square feet. She exhibited young artists, both local and national, commissioned temporary sculptural installations around town, and featured music, film, and poetry.

    Alice Denney
    Alice Denney
  • The Tentacle Room.  Michael McCall, artist and preparator at the WPA, lived and worked in a studio above the 930 club at 930 F Street NW. He opened an after-hours club, The Tentacle Room, Friday and Saturdays nights. The place was always packed, with crowds that included artists, musicians, curators, gallery people.
  • DC Space. Nearby, at the corner of 7th and E Streets NW, DC Space opened, a small storefront restaurant and music club featuring punk and alternative music, with a small bar, where you could always find an artist, or someone you assumed to be.
Martin Puryear. Kiruna, 1982. Paint and gesso on pine. The Wadsworth Atheneum. The Douglas Tracy Smith and Dorothy Potter Smith Fund, The African American Art Purchase Fund, and the Alexander A. Goldfarb Contemporary Art Acquisition Fund, 2009.3.1
Martin Puryear. Kiruna, 1982. Paint and gesso on pine. The Wadsworth Atheneum. The Douglas Tracy Smith and Dorothy Potter Smith Fund, The African American Art Purchase Fund, and the Alexander A. Goldfarb Contemporary Art Acquisition Fund, 2009.3.1
  • 406 7th Street. In 1981 or 1982, Bobby Lennon renovated this building, just down the street from DC Space,to create the first Chelsea style (at the time, Soho style) galleries—three floors, five or six galleries—big-time, serious galleries (Harry Lunn, who specialized in photography; McIntosh/Drysdale, which exhibited an unforgettable show of Martin Puryear’s ring sculptures; Osuna, which exhibited many young local artists).


JOHN DICKSON (Dean of Students):

Alice Denny’s 1978 Punk Art show at the WPA helped set the tone for what was to come. At the time I was living in Adams Morgan and had a studio at Johnson Avenue Alley with Sam Gilliam and Rockne Krebs. I was making sculpture-painting hybrid works using animistic thinking. Some of this work had been shown at the Whitney Biennial 1976. I was working as a waiter at the Golden Ox and the Shoreham. My dealer was Diane Brown, and I was awarded NEA individual artist grants in 1980 and 1986 which allowed me to focus on art making for several years. In 1980 artist Genna Watson and I got married. We bought a young tortoise as our first pet. Thirty-three years later, he is still going strong and very long—like 3 x 4 feet. Jason inspired a collection of reptiles that we still remain in awe of. This isn’t for everybody but it still works for us. In 1983 Genna was selected for an NEA grant that not only gave her funding but a traveling exhibition to five museums…and she quit her waitress job.

JUST ANNOUNCED: “The Legend of COOL ‘DISCO’ DAN” Screening

After selling out all SIX showings at AFI Silver Theater, The Legend of COOL “DISCO” DAN will have one final screening here in the District on Wednesday, March 27, at 8 p.m. Tickets available here.

The Gallery will be open until 9 p.m.,  and the Corcoran Shop will be open until 10 p.m., so be sure to check out the Pump Me Up exhibition and snag some merchandise.

Also happening on Wednesday night at the Corcoran:

> The Legacy of the Globe (6-7 p.m., pre-registration required)
> Ill Street Blues opening reception in Gallery 31 (5-7 p.m.)
> Corcoran Uncorked (6-9 p.m., includes drink ticket–FREE with your film ticket purchase)


Legend of Cool Disco Dan Documentary Pump Me Up


The Legend of COOL “DISCO” DAN tells the story of Washington, D.C., in the 1980s through the eyes of D.C. graffiti legend COOL “DISCO” DAN. Narrated by D.C. native Henry Rollins, this feature documentary offers the most comprehensive portrait to date of this critical decade, including the development of Go-Go, racial tensions, crews, sensationalist media, and crack—as well as D.C.’s vibrant graffiti culture. Graffiti historian Roger Gastman (curator of Pump Me Up: D.C. Subculture of the 1980s) and filmmaker Joseph Pattisall introduce their documentary and answer questions afterwards.