The Rubell Museum DC recently unveiled a groundbreaking exhibition as part of a museum-wide reinstallation. Titled “American Vignettes: Symbols, Society, and Satire,” the exhibition opened on Sept. 27 and features nearly 100 works of contemporary art from more than 40 emerging and established artists.
Drawn from Rubell’s renowned collection of over 7,700 works, the exhibition, free and open to the public, covers a broad spectrum of media including painting, sculpture, photography, and mixed media.
Organized into three thematic sections, “Symbols, Society, and Satire,” the exhibition presents individual vignettes that, when viewed together, paint a larger narrative of contemporary life in America. These narratives, explored by both American-born and immigrant artists, offer compelling and varied approaches to interpreting the nation’s cultural and social landscapes.
“‘American Vignettes’ is a powerful reflection of the diversity and complexity of the American experience,” said Mera Rubell, co-founder of the museum that opened in 2022 as a hub for national and international artists to present work that engages pressing issues of the time. “We’re honored to champion these artists and engage our visitors with their diverse perspectives, which reflect the variedness of American society.”
Symbols
The exhibition begins with “Symbols” in the museum’s largest gallery, where iconic imagery such as flags, eagles and banners is reimagined by artists who interpret and reframe these cultural markers. One of the standout works in this section is Sterling Ruby’s “Flag” (2014), a monumental work of bleached and dyed fabric and elastic that spans over 14 feet in length. The piece critiques the traditional symbolism of the American flag, juxtaposing reverence and reinterpretation.
Society
The central floor of the exhibition is dedicated to “Society,” exploring interpersonal relationships and community ties.
Among the highlights is Reginald O’Neal’s “As I Am” (2021), which juxtaposes historic black-and-white depictions of Black families in Miami with a modern-day figure. O’Neal’s mastery of storytelling through subtle details allows the viewer to experience the deep sense of time and continuity that defines community and cultural heritage.
Another of O’Neal’s works, “At the Feet of Mountains” (2020), is a striking oil painting of a group of figures in silhouette. The minimalist approach and contrast of light and shadow give the work a contemplative atmosphere, encouraging viewers to reflect on the power of community in both historical and contemporary contexts.
“Fresh” (2017) by Tschabalala Self is another highlight, celebrating the everyday experience of Black and Latinx communities through the familiar setting of a bodega. Self’s vibrant use of color and materials brings a sense of nostalgia to this beloved neighborhood institution, while also raising questions about how gentrification impacts cultural spaces.
Also not to be missed is Njideka Akunyili Crosby’s “Ileke” (2012), a work that seamlessly blends her Nigerian and American identities. Crosby’s unique technique of layering acrylic and Xerox transfers results in a deeply textured and intricate portrait of personal and cultural history, focusing on themes of tradition and memory.
Satire
The top floor of the museum is devoted to “Satire,” where artists use biting humor and critical imagery to challenge social norms and reflect on the absurdities of modern life.
A major influence on this section is the late Robert Colescott, whose works, known for their provocative satire on race, gender, and politics, feature prominently.
A compelling piece in this section is Savannah Claudia Levin’s “Unthinkers Two – In The Violent Hour” (2022), an oil painting that captivates with its bold portrayal of human figures in moments of violence and chaos. Levin’s work offers a raw and unfiltered critique of societal violence, examining the fragility of civility and the breakdown of moral structures.
Another standout is Nehemiah Cisneros’ “Wicked City 3” (2023), an expansive acrylic canvas stretching over 14 feet in width. The piece presents a dystopian urban landscape populated by exaggerated, surreal figures. Cisneros’ sharp critique of the ills and excesses of urban life is infused with dark humor, creating a work that is as visually arresting as it is thought-provoking.
Pieces by Mario Ayala, Kara Walker and Sharif Farrag round out this section, each using their unique mediums and styles to examine power structures and societal ills.
Through their works, the artists present a mirror to society’s flaws, leaving viewers with a mix of discomfort and reflection.
“We’re thrilled to bring these vibrant works, which explore the American condition, to audiences in the nation’s capital,” said museum co-founder Jason Rubell, Mera Rubell’s son. “Their presentation in the historic Randall Junior High School provides a meaningful context for reflecting on the themes of history, identity, and society that permeate the exhibition.”
“American Vignettes: Symbols, Society, and Satire” will be on view through fall 2025.