Craft of Music at Katzen Arts Center

The Craft of Music will take place at the Katzen Arts Center of American University from noon - 5:00 on Feb 7.

The Craft of Music at the Katzen Arts Center of American University from noon – 5:00 on Feb 7.

An exciting, engaging, and unique program, The Craft of Music (From Bach to Bluegrass:  Stringed Instruments and the Music They Make) will take place at the Katzen Arts Center of American University on February 7th from 12:00-5:00 PM.  You do not want to miss this one. The four part program includes:  displays of contemporary and nontraditional instruments, a panel discussion on the craft of making stringed instruments and then two musical performances of stringed instruments. 

The doors of the Center will open at 12:00 noon to allow visitors to peruse the displays of contemporary instruments presented by panelists and the exhibit of nontraditional instruments curated by Jennifer Lindsay (there will be demos with some of those being played!).

The panel discussion will begin at 1:00 PM.  The notable panel members include:  Dick Boak from Martin Guitar, Jim Warwick a Luthier, Wayne Lanham a member of the Bill Emerson Band, Bran Dillard owner of Picker’s Supply, and Fred Oster of Oster Violins and the Antique Road Show.  Luthier, Mike Mears will moderate.  There will be plenty of time for Q & A, so come with your questions about instrument making.

After a break, Arcovoce with Amuse will perform Bach’s Brandenburg Concerto #6.  Arcovoce is led by Nina Falk who studied at Juilliard and Oberlin, received a Fulbright to study in Europe, has performed with the National Symphony and the Paris Symphony and was described by the Washington Post as “one of Washington’s finest musicians”.  Other members of the ensemble are equally notable.

The classical performance will be followed by a performance by the Bill Emerson Bluegrass Band, Sweet Dixie.  Award winning Emerson is founder of the world famous Country Gentlemen, founder of US Navy Band Bluegrass Ensemble, Country Current, and he has recorded and played with more bands than any other banjo player.  Each musician in the band has had a notable career.

During the afternoon there will be plenty of time to talk with panelists and musicians, to browse the instrument displays, purchase CD’s from the artists and refreshments from the café of the Katzen Center.

Come join the group for an exciting afternoon.  Let your friends know and get your tickets early for this unique program by logging onto the JRA website:  Seating is limited.

Silvia Levenson @ Katzen Arts Center

Silvia Levenson @ American University Museum

Silvia Levenson “She Flew Away” cast glass, steel wire

Artist Silvia Levenson believes her work is an expression of her soul. She uses glass not for its natural beauty, but for its potential as a narrative medium. In her exhibition Identidad, (January 24 – March 15, 2015 at the American University Museum in the Katzen Arts Center), Ms Levenson channels her identity as a survivor of the Argentinian Dirty War and her emotional connection to the Grandmothers of the Plaza de Mayo in order to push the bounds of her skills as a glassmaker and produce refined glass work. 

Silvia Levenson was born in Buenos Aires, the capital and largest city of Argentina. She and her family went into hiding for almost three years as political activists opposing the military dictatorship of General Jorge Rafaél Videla. In 1981, during the disappearances of the so-called Dirty War in Argentina, they fled the country and immigrated to Italy, where they eventually attained dual Argentine-Italian citizenship. Between 1976 and 1983, the Argentine military dictatorship kidnapped, tortured, and killed about 30,000 people known as “los desaparecidos” or “the disappeared.” Thirty percent of those kidnapped were young women, many with children by their side or in their womb. These children were later stripped of their identity and given up for adoption. 


Levenson studied at the Martin Garcia School of Graphic Design in Buenos Aires. She acquired glass-making skills at the Musée-Atelier du Verre (Sars-Poteries/FR) at workshops with Antoine Leperlier (pâte-de-verre, 1991) and Vincent van Ginneke (casting, 1994). Silvia Levenson lives in Lesa/Italy and Buenos Aires. In 2004, Levenson received the Rakow Commission Award from the Corning Museum of Glass in New York.

The American University Museum at the Katzen Arts Center presents a lecture titled “The Strange World of Silvia Levenson” featuring Washington Glass School Directors Tim Tate and Michael Janis to be held on Thursday, January 29, 2015, 6:00-7:00 pm at the Katzen Arts Center. 

RSVP by Jan 22, 2015 to 

Identitdad by Silvia Levenson

January 24 through March 15, 2015

Katzen Arts Center, 4400 Massachusetts Avenue, NW, Washington, DC 20016

Katzen Center Panel Discussion "Collecting Sculpture, Glass & 3-dimensional Art"


Collecting Sculpture, Glass & 3-dimensional Art

Thursday July 25th  6:30pm 

The Katzen Arts Center will host the third in a series of panel discussions designed to encourage collecting fine art with advise from established Washington area gallery directors, who will share their knowledge and expertise.

Each panel will feature presentations by gallery directors, who are members of the Art Dealers Association of Greater Washington [ADAGW]. ADAGW galleries represent a broad spectrum of fine art, from established masters to contemporary art, in all media, by artists known locally, nationally and internationally. These art experts will share their knowledge and offer guidelines  


Tim Tate, Dreams of a Lost Love Found, Blown and cast glass, electronics, found objects, video
July 25 Panel presenters 

Margery Goldberg,  Zenith Gallery

Maurine Littleton,  Maurine Littleton Gallery

Jerry Eisley,  Eisley Fine Art 

Dale Johnson,  Watergate Gallery

Panel Moderator: Jack Rasmussen, Director and Curator, American University Museum at the Katzen Arts Center

Tim TateMidnight Messenger, Blown and cast glass, electronics, found objects, video

The seminar is scheduled for tonight, Thursday evening, starting at 6:30pm,

Abramson Family Recital Hall, Katzen Arts Center, American University

4400 Massachusetts Avenue, NW, Washington, DC

ON COLLECTING FINE ART is free and open to the public.  

Reservations Suggested.

PO Box 55289, Washington, DC 20040 * Tel: 202-986-0105 Fax: 202-986-0448


Intowner Reviews Tate’s Sleepwalker @ American University Museum

The July issue of The InTowner features review by Tony Harvey

The InTowner 

Review of Tim Tate / Pete Duvall / Richard Schellenberg collaborative exhibition at American University Museum Pg 8, July, 2013

by Anthony Harvey

Washington’s studio glass art star Tim Tate continues to astonish museum goers with the quality and beauty of his innovative and increasingly complex glass art. Tate is now adding another level of challenge to his work through his recent collaborations with video and conceptual artists and photographers Pete Duvall and Richard Schellenberg. The rich results of this collaboration are on display in a current exhibition at the Katzen Arts Center.

Entitled “TimTate: Sleepwalker,” the show opens with Tate’s knockout 2012 Dada’s (or the Astronaut’s) Dream , a bouquet of electronic, video facial body-part flowers — primarily two inquiring eyes — irregularly arranged on a small steel post. He then moves immediately into his collaborative works with Duval and Schellenberg.

First up is a triptych of images titled: “I Was Not In My Right Mind”, which presents three characters performing hypothetical pieces that reconstruct scenes from Carol Reed’s famous film noir melodrama, The Third Man. Set in allied occupied Vienna at the end of World War II, Tate and a second actor play the parts of Harry Lime (Orson Wells in the film) and Holly Martins (originally Joseph Cotton). The film’s romantic interest, Anna Schmidt, played by Alida Valli, is the mystery presence. Wells and Cotton as marionettes are cleverly portrayed in Tate’s triptych as a pair of song and dance men, both  performing with canes — a riff no doubt on the running through dark streets and underground sewers that both do in the original film — with Schmidt, who has lost her lover Lime through the action of Martins, serving as the character in the triptych who plays the role of silence.

Tate’s “rosebud” is a thrown white ball first bouncing from right to left in the third panel, which uses the iconic Ferris wheel image of the film’s Viennese amusement park for its background, then through the second panel with its concluding film sequence of Schmidt walking down a tree-lined alleé, and finally to the first of the three triptych panels with our song and dance pair of Martins and Lime, whose jerky, puppets-on-a-string body movements are hilarious. The second panel also operates independently of the first and third, with Tate (as Lime) holding and intently viewing a pocket watch, seeming to time Schmidt’s long walk — or perhaps concerned about the timing of their respective flights from war-torn Vienna. As puzzling as it is engaging!

Black and white stills of objects in the triptych (and there must be a black rotary dial telephone somewhere in the triptych background’s flowing narrative) together with a pair of video boxes containing works called Portal of Light and Portal of Darkness provide further supporting context to the marvelous title work of the show —Sleepwalker. 

Joseph Cornell immediately came to mind as I began absorbing the lush visuals of this work. Cornell, an influential early filmmaker as well as the creator of extraordinary aesthetically infused art boxes, once asserted that until we are able to record our dreams, motion picture film will have to suffice. Tate would add video and electronic to Cornell’s medium, and Sleepwalker is a mesmerizing example of what can be artistically accomplished with existing media. Comprising a large rectangular screen on which a video of an attractive young woman with a glorious head of flowing hair is shown shifting her head from side to side as she sleeps and no doubt dreams with the physicality of a sleepwalker. Flanking her video are six smaller, oval screens, three hanging on either of the two side walls, each of which seems to play across the room against its opposite number. The farthest two appear to deal with gender — a somewhat abstract frontal view of a female form; across the way is a rear view of a more realistically depicted male nude. The middle two posit an amusement park’s Ferris wheel — urban pleasure — against the innocence of a foliage covered suburban house while the closest pair juxtapose a hand that is writing and then erasing on a blackboard the words, “I see how far I’ve wandered” with a mouth that is softly speaking into a rotary dial telephone receiver. Equally soft orchestral music lulls one into a relaxed state, music with which to fall asleep and yet to dream!

Two other videos complete the collaborative portion of Tate’s photographic/performance/electronic show. The first is of a boy’s dream of flying on Superman’s shoulders until the boy falls dead on the floor and Superman discovers that it is the boy’s energy and drive that allows him to fly — and the subsequent consequences of the boy describing his dream to his mother. The second involves a young woman throwing dice — perhaps a play on Mallarme’s famous 19th century poem “A Throw of the Dice Never Will Abolish Chance”. In this video, the number of dice is eventually increased to that of a Niagara of falling dice — to apparently no avail.My last encounter in the show took me to Tate’s glass and mixed-media work, specifically to a viewing of two of his terrific glass reliquaries. Both dramatically advance Tate’s multi-media creativity by incorporating miniature TV monitors playing poignant video narratives as the centerpieces of each of the reliquaries’ glass enclosed found, cast, and sculpted objects. The first of these, Dreams of a Lost Love Found, is especially engaging, with its character of a nude, sleeping boy depicted with a second figure — an apparition — rising from his bed and walking into the background only to return to the boy in the bed as a nude woman.

For the full newspaper pdf article – click HERE starting Pg 8.

photo by Pete Duvall

Tim Tate: Sleepwalkercontinues through August 11th.

American University Museum/Katzen Center

4400 Mass. Ave.

Tue.-Sun., 11am-4pm; Mon., closed

202-885-1300 •

WAKEUP! "Sleepwalker" opens at Katzen Arts Center

This Saturday at the Katzen Arts Center is the official opening of the show “Sleepwalker” featuring work and collaborations by Tim Tate, Richard A. Schellenberg and Pete Duvall. 

This exhibit is the result of many years in the making. The show is made up mostly of video components (featuring spectacular collaborations with Pete Duvall and Richard Schellenberg), with a few integrated sculptural objects. Come join in a walk through the mind of a Sleepwalker. Opening is Saturday evening, June 15th, from 6 to 9pm.

Tim Tate: Sleepwalker

The American University Museum at the Katzen Arts Center,

June 15 – August 11, 2013

4400 Massachusetts Ave,  NW

Washington, DC 20016 

Tim Tate at Katzen Arts Center

Still from “I Was Not In My Right Mind”

Tim Tate: Sleepwalker

Video show at American University’s Katzen Arts Center – June 15 to Aug 15, 2013 featuring collaborations with Pete Duvall and  Richard A. Schellenberg.

Tim Tate is Washington’s best known contemporary glass artist, but his latest work has moved toward video installations. Rich in symbol, metaphor, movement, and mystery, videos, like dreams, enable us to participate in another reality and, through that participation, to be transformed. Hidden within is the latent content which will give the viewer an understanding of what is happening in the mind of a dreamer. For the Katzen project, Tim is working with collaborators Pete Duvall and Richard Schellenberg (both of whom he met through Artomatic).

Pete Duvall

Additional Events: Gallery Talk: Sleep Walker with artist Tim Tate August 10, 4 pm. 
The American University Museum is open from Tuesday-Sunday, 11 a.m. – 4 p.m. The Museum will be closed on July 4 in honor of Independence Day.

Richard Schellenberg

American University Museum Admission is free 202-885-1300 
AU Katzen Arts Center
4400 Massachusetts Ave NW
Washington, DC 20016

New Video Work From Tim Tate


Newest Video Project

I was recently advised by a spectacular gallery that while they loved the video reliquary pieces, I should consider doing important work. No offense was meant, and in response I have decided to take that advice to heart with this next project. Important or not…it is a show without constrictions. I did that by separating glass and video for this project. My fascination with miniaturizing still worked for the glass part of my brain…..but the video part of my brain had to abandon glass temporarily. It was the scale of glass that held me back.

In the summer of 2013 I will be presenting an all video exhibit at Washington, DC’s American University’s Katzen Art Center. In one of the rooms I will be presenting an updated version of my video installation “The Waking Dreams Of Magdelena Moliere”. Magdelena is a fictitious character whom you get to know and understand thru her dreams. You enter her world by passing through the portals of shadow and light. These are the pieces I have been working on these last several months.

The portals of shadow and light flank each side of the entrance to Magdelena’s room. They consist of 2 vertical flat video screens with ornate regency frames, one painted a satin black, the other a soft cream. Each is approximately 3 ft by 4ft.

Inside the cream colored Portal Of Light I have a video of slowly roiling clouds surrounded by soft blue electricity. Into this scene drops 3 plumb bobs at different speeds and heights continually unwinding from above , chaotic at first, then finding balance and ascending again.

Inside the satin black Portal Of Shadow I have a video of roiling smoke surrounded by small slow flames. Inside that an image of a glass vase floats up from the bottom and smashes against the top of the video screen into many pieces, which slowly reassemble and descend again to darkness.

If the videos do not work below in this posting, they can be seen on my facebook page under videos.

I find these portals extremely compelling. They have the look and feel of a Victorian painting, while incorporating new media to depict the narrative inherent in the video portals. I plan on investigating this format many times over the next few years.