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Abby Stuckrath

Artomatic transforms abandoned building into a free artistic oasis

Posted on May 1, 2024

 By Abby Stuckrath

This article was originally published in The DC Line, here.

In its latest incarnation, Artomatic once again serves as a beacon of creativity, transforming a vacant building into an artistic hub. From sculptures fashioned from trash in the Potomac to a time-lapse video capturing the Rosslyn skyline, Artomatic demonstrates dynamic, empowering and utterly captivating art that defies traditional form. Running through April 28, Artomatic covers eight floors in a Golden Triangle office building, with the exhibition showcasing the works of over 1,000 artists and performers, ranging from live musical acts to tarot card readings — ensuring there is something to enchant every visitor.

Twenty-five years ago, Artomatic emerged as a liberated space for artists in an abandoned office building at 14th Street and Florida Avenue NW. It was a free-flowing exhibition devoid of a formal curator, where artists wielded the space for their creative voices. The mission of the entirely volunteer-run show remains to “create community, build an audience, and expand economic development by transforming available space into a playground for artistic expression.” After a seven-year hiatus, this groundbreaking art extravaganza has returned to DC, this time hijacking an unoccupied office building on M Street NW.

In this transformative ecosystem of artistic expression, the bounds between creator and audience blur, fostering a sense of community and connection that transcends most traditional gallery experiences. The events at Artomatic range from paint-off competitions to self-exploration workshops, making it not a venue for passive observation but instead a place where individuals become active participants in the Artomatic community.

Stepping off the elevator onto the eighth floor — a logical place to start — you’re greeted by a stripped-down building, its structure bare against rugged cement floors. On the northeast side, visitors can unleash their creativity on a community canvas wall with paint and brushes supplied nearby. With the end of Artomatic’s seven-week run fast approaching, the once-blank canvas brims with a kaleidoscope of random squiggles and smiley faces, serving as a testament to the thousands of Artomatic visitors who’ve left their mark.

Turn the corner, and you’ll find art covering every surface. Karen La Du and Jeffrey Blender’s “Adventures in COOKIELand” installation offers an immersive journey saturated with vivid pinks and blues. Their whimsical and abstract sketches evoke a sense of nostalgia reminiscent of the classic style of Keith Haring. 

After walking down the stairs or riding the elevator to the seventh floor, audiences are met with a labyrinth of office spaces, each room dedicated to the work of an individual artist. Natalia Febo’s vibrant neon room, adorned with watercolor depictions of vegetables, fruits and empanadas, stands out as a refreshing oasis amid the darker, gloomier artwork scattered throughout the floor.

On the seventh floor, you’ll also find a room with a continuous stream of films, predominantly in short form. Unfortunately, the quality of these films does not meet the standards set by other art installations. One example is Heritage Film Festival’s short “Birds of the Air,” which feels stiff and lacks the emotional intimacy necessary to effectively portray the story of a transgender woman’s first day presenting as herself.

A standout installation is on the third floor, where Syahidah Osman is showcasing more than a hundred small photo collages adorned with maps and portraits of missing people from East Turkestan who are detained in Chinese Uyghur internment camps. Many victims have had their passports confiscated; they’ve also been assigned to forced labor. Moreover, a large number have vanished altogether. Osman’s artwork is just one of the many pieces across Artomatic’s eight floors that leave a lasting impression.

With each visit to Artomatic, audiences are enveloped in unique art installations that celebrate freedom of expression. Unlike traditional art showrooms, Artomatic is able to provide a platform that empowers artists who might otherwise need more time or financial means to showcase their work. 

By repurposing a demolition site into a place of creativity and freedom, Artomatic uplifts the voices of artists in ways that more conventional museums and galleries cannot achieve. By fostering this collaborative environment, Artomatic encourages audiences and artists to experiment, innovate and push boundaries without the pressure or expectations of a mainstream art institution. Artomatic democratizes access to the arts while making it accessible and relevant to a mass audience. 

This is more than just an exhibition space; it’s a living testament to the boundless nature of human creativity. It’s a place where inspiration is limitless, and the possibilities — for visitors and the featured artists alike — are as endless as the imagination itself. 

Poet Layla Said Embodies the Unyielding Power of Art

Posted on April 26, 2024

By Abby Stuckrath

This article was originally published in Tagg Magazine here.

Writing comes naturally to Layla Said, creator of Said Nothing. Media. She told Tagg that sharing her life through art was something she “always felt really compelled to do.” 

Said’s poetic and written talents will officially culminate in her first poetry book, “Don’t You Cry, I’m on Venus.” Releasing this summer, this 7-year project reflects her life journey in navigating the world as a queer BIPOC woman.

A Life of Poetry

Said’s book took its first breath during her junior year of college when her professor, Sarah McCallum, encouraged her to become a poet. “She was the first person to ever call me a poet. She’s brilliant, she made me realize I was more than good enough,” says Said. 

But Said didn’t begin writing poetry in college; she wrote her first poem at age 7. Poetry even runs in her blood. 

Said shares that her grandmother used to be a political poet who was once imprisoned by the communist Romanian government. At nine months pregnant, she sat in jail reciting poems to the guards. Like a siren who lured pirates into dangerous waters, her poetry moved the guards to tears, and they let her go. This miraculous tale within Said’s ancestral past inspires her work today. “Her first name is my middle name, so I’ve always felt really connected to her,” she says. 

Said’s book is divided into three parts: “Enter the War Zone,” “Leave the War Zone,” and “Enter Self.” The proclaimed “war zone” began in high school, where Said, a Romanian Afghan woman, was surrounded by predominantly white peers. “I was very other in their eyes there,” says Said. “Everyone was super white, and they really made it a point that I was not.” 

The Beat of Her Own Drum

Said’s poetry doesn’t simply stay on the page. It finds life musically as well. Said has produced two EPs, “Poetry is Not a Luxury” and “Portrait of a Young Woman,” and she is adding a new song, “She Who Laughs Lasts,” to her discography on May 24th. The song was produced entirely virtually through voice memo recordings and Zoom calls with her producer. 

Her book and song are vulnerable expressions of her familial trauma and battle with bipolar disorder. While it can be difficult to share her experiences publicly, she says that it’s a vital part of how she heals. “I just feel like processing that in my art is really the only way I’ve been able to get through it to move on to have better relationships with my family,” Said says.

Uplifting Others

Discussing her past isn’t the only way that Said is healing and reclaiming her power. To challenge capitalism’s dominance over artistic expression, she created Said Nothing. Media is a company dedicated to amplifying poetry in all forms, specifically by women and minority artists. “There are so many ways to sell your soul and I really think that there’s such a power in being your own boss, and having your own voice and not having anyone dictate that,” says Said. 

But her passion for uplifting unheard voices doesn’t stop there. Said is also a fierce advocate dedicated to helping end homelessness in Denver, Colorado. She says, “My art is an extension of my public service, which is core to my identity and human experience.” This past year, she helped secure $2.58 million in recurring city funding to support homeless youth. 

Said says she doesn’t need recognition or fame to feel that her art and advocacy have made a difference: “The important thing is to just create, and to kind of just let the risk be and not try to force the outcome so much. Do I hope people consume it? Sure. But is that the end-all-be-all? No.” 

Arena Stage world premiere unveils the tumultuous journey of a Black woman principal in DC

Posted on March 20, 2024

 By Abby Stuckrath

This article was originally published in The DC Line here.

Some called her an elitist; others said she coddled her students too much. But her biggest flaw? A fiery passion for inclusive education. 

In the early 1900s, Anna Julia Cooper, a respected Black academic and activist, fought to empower Black minds by equipping them with the strongest weapon: knowledge. The internal and external threat to her tenure as principal of Washington’s historic M Street School is the subject of Tempestuous Elements, currently making its world premiere at Arena Stage through March 17. 

Written by Kia Corthron and directed by Psalmayene 24, the play centers around the ensuing turmoil as a government probe intentionally spreads misleading narratives about the life and leadership of Cooper, who is played brilliantly by Gina Daniels. The production shines a bright light on an educator whose history hasn’t been celebrated enough. 

During this period, DC’s public schools were strictly segregated, and most Black schools concentrated on vocational training. However, the M Street School — later renamed Dunbar High School — distinguished itself by offering a “classical” education, which included specialized courses in physics, mathematics and Latin. The aim was to prepare students for admission to accredited colleges such as Yale and Columbia. The Board of Education and even some students perceived these accredited colleges solely as institutions suitable for white individuals, a perception that Cooper was committed to dismantling. Her dedication was a spark of hope for the local Black community — a small fire that many were dedicated to smothering. 

In Corthron’s play, Percy Hughes (Paul Morella), the director of DC high schools, begins investigating Cooper’s leadership after a Black doctor, O.W. Atwood (Joel Ashur), discusses rumors of students creating an off-campus drinking club. The two men — both based on historical figures — question Cooper’s fitness for a position that they see as naturally fitting for a man, and launch a social and institutional attack against her career. This scene sets the stage for the show to explore the intersectional barriers Black women like Cooper continue to face due to their race, gender and socioeconomic status. 

Corthron’s script offers stimulating dialogue that effectively communicates the characters’ and community’s rich historical context, never feeling dense or overly complicated. Psalmayene 24’s direction complements the script with natural and dynamic staging. A play performed in the round can quickly become frustrating; no one wants to watch the backs of actors. However, Psalmayene 24 creates a fluidity that allows the actors to physically explore all realms of the stage, never letting the audience feel left behind. As is often the case at Arena’s Fichandler space, the  stage design by Tony Cisek was intentionally simplistic, with supplemental furniture on the stage rather than entire set pieces. This allowed the actors to fill the space, avoiding unnecessary set elements. It also enabled the scene transitions to flow naturally and quickly. The women on stage were dressed in a spectrum of purples and pinks, symbolically linking them together. LeVonne Lindsay, the costume designer, likely incorporated this element to illustrate the interconnectedness of Black women in their shared pursuit of personal and community liberation. The chosen color palette conveys a sense of unity and solidarity, emphasizing the collective effort these women engage in as they navigate their respective struggles for freedom and empowerment. 

The play’s first act unfolds gradually, with many scenes focused on bringing the audience up to speed on the historical backdrop. The second act marks the point where Daniels truly flourishes as Cooper. She commands the stage quietly, wrapping the character in a cloak of wisdom and empathy. Her presence is missed in the few moments she is not on stage. The ensemble meets Daniels’ newfound energy in the second act, in a lively Board of Education hearing where the entire cast gathers on stage in a show of solid support for Cooper’s leadership. 

In the first act, Cooper’s student Hiram, played by ensemble standout Ro Boddie, asks to transfer to a school dedicated to technical studies. Cooper challenges him, urging him to try harder in his courses; he balks at her exhortation, complaining that learning Latin and discussing slavery are vestiges of the past. Their exchange and the overarching themes of the play ring true today, as states ban books discussing race, slavery is taught as beneficial in some cases, and Black women are continually displaced from rightly deserved leadership positions. Tempestuous Elements may be set over 100 years ago, but its discussion of public education in the United States is as relevant as ever. 

In the beginning sequence, we see Cooper and Hughes holding a sledgehammer, a symbolic fight against each other, as the play’s protagonist attempts to break the glass ceiling that Hughes upholds. This show is a haunting reminder that Black women are still fighting for their right to lead and take control of the sledgehammer. 

How It Feels to Flee LGBTQ+ Persecution: Kendra Frith Shares Her Story

Posted on February 16, 2024

By Abby Stuckrath

This article was originally published in Tagg Magazine here.

Elated over her success in organizing the first Jamaican Pride celebration, Kendra Frith drove home believing she made a difference for her conservative community. It wasn’t until a police officer pulled her over that her bubble of hope burst. 

She remembers the officer gesturing to the backseat, asking why she had a pride flag. “He said I should be careful because it could have been a different police officer, and things could have gone differently,” recalled Frith. 

It was this moment that made Frith begin to seriously question the role of the Jamaican Police to serve and protect all persons in the country. “It made me feel threatened,” she said.

Still, when Frith bought her round-trip ticket to the United States two years later, she had no intention of leaving home for good. Eight years after arriving, Frith has yet to board her return flight.  “I came to the U.S. on a round-trip ticket just to chill,” she shares. “When I was here, things just got worse back home, and I was like, ‘Okay, I can’t go back.’”

With the help of the Rainbow Railroad—a nonprofit organization dedicated to assisting LGBTQ+ individuals escaping state-sponsored violence—Frith was able to stay in the U.S. and request asylum. 

“I wanted to stay [in Jamaica] and help make my country better,” says Frith. “Nobody wants to leave their home and leave everything behind.” 

Frith’s brother, Christopher, said her departure was devastating. “It was not easy watching her leave,” he says. “It was extremely difficult for not only me but our entire family.”

Even with the help of Rainbow Railroad, Frith’s transition wasn’t smooth. Living in New York City as an undocumented immigrant was extremely isolating. After three years of constant workplace abuse and missing the death and funeral of her grandmother, Frith attempted to take her own life. “I ended up in the hospital, and I was there for two days. After I started to get therapy, I realized that I have a new chance at life,” says Frith. 

Frith’s new chance began with moving to Virginia and later working for the same organization that helped her stay in the United States, Rainbow Railroad. As the Senior Engagement Officer, she helps refugees settle into their new lives and offers them the support system she didn’t have. 

But Frith isn’t new to the LGBTQ+ advocacy scene; back in Jamaica, it was her entire career. She worked with Jamaican LGBTQ+ organizations JFlag, Color Pink, and WE-Change. “I’m glad that I was able to be part of that organization, but it’s also the reason why I am no longer in Jamaica,” says Frith. 

Virginia brought Frith more than just a job. It also introduced her to her partner, Kelly Richards. Richards also fled Jamaica due to multiple threats against her life as a masculine-presenting queer woman. Introduced by Frith’s uncle, Frith helped Richards build her U.S. asylum case. 

“I fell in love first,” Richard shares. “Her personality and willingness to help made me want to hold on to her.” 

From assisting her partner to becoming a mentor to new Rainbow Railroad refugees, Frith loves helping others bear the burden and stress of starting over. 

Frith remembers welcoming the first member of their program at the airport. She recalls him running to her and falling into her arms, desperately crying thank you over and over again. “I was just like, ‘Okay, this is it, like this is it.’ The hug was like a weight. I was able to take something away from him,” says Frith. 

After eight years in the United States, Frith’s asylum case is still pending. Nowadays, she connects to her Jamaican roots by eating Richard’s delicious curried goat recipes and listening to old-school reggae.

Increasing Queer Wellness and Mental Health With Coming Out Happy

Posted on January 19, 2024

By Abby Stuckrath

This article was originally published in Tagg Magazine here.

Growing up in a religious community in Colorado, Keely Antonio never imagined that she could lead a fully authentic life as a queer woman.

“A lot of my journey was suppressing who I was,” Antonio told Tagg. “I didn’t understand what it meant to free myself and step away from the judgment and the doubt.” 

Coming out as queer was the first time she truly listened to her body. “It really shaped my understanding of wellness and what it means to listen to your needs,” says Antonio. 

Antonio’s journey as a queer woman motivated her and her partner, Dani Max, to create Coming Out Happy. The company helps LGBTQ+ individuals become more fulfilled and empowered versions of themselves. 

Coming Out Happy originally started as an LGBTQ+ rainbow mask project during the beginning of the COVID-19 pandemic in 2020. But one viral Instagram post quickly transformed the company into something more. 

“I made a video saying that my partner is doing great things for the LGBTQ+ community and that everyone should follow her on Instagram,” says Antonio. “It got hundreds of thousands of views and hundreds of people to join the membership program.” 

In an effort to connect and support queer people during a time of such stifling isolation, Coming Out Happy evolved into a community-based membership program where Max and Antonio provided life coaching and therapy sessions. 

The pandemic taught them how important fostering and creating community is, “especially in a society that’s so individualistic,” Antonio says.

Coming Out Happy has now served 200,000 queer adults across the world. The company now offers wellness support through podcasts, workbooks, live coaching sessions, and virtual programming.

Last summer, their online network and services finally added in-person events. The San Diego Self Love retreat was their first in-person venture. Antonio says that participants flew in from all over the country for a weekend of intentional yoga, group discussions, and “the most queer joy that you could imagine.”

To foster a more diverse and inclusive space during in-person events, Coming Out Happy offers a BIPOC scholarship program. They funded four full-ride scholarships for the San Diego retreat. Earlier this month, Antonio and Max held another successful event, their Winter Queer Leadership Camp. 

Additionally, for those unable to attend their in-person events, Coming Out Happy offers a virtual program called the “Pride Amplified Six Week Course.” The website describes the course as an “​​On-demand program for queer adults designed to help you ditch insecurities, connect with the most confident version of yourself, and create a solid foundation for healthy relationships.” 

Antonio recalls one of her most memorable patients from her course, a 50-year-old woman who recently left her husband. After a decades-long heterosexual relationship, she was eager to explore her queerness. 

“She came in with a lot of shame and didn’t know how to join the community,” says Antonio, who works as the woman’s therapist. 

Years later, she has created a blooming network within the LGBTQ+ community and started her own queer-centric business. 

“It was so amazing to see her tap into her community and relationship and go and make an impact,” beams Antonio. 

Antonio shares that beginning your journey in self-empowerment can start with finding just one person to connect with. “Sometimes we don’t have all the resources; it’s just one door and one person,” she says.

Gay Women of Rehoboth Hosts New ‘Women’s Arts Project’—A Vibrant Celebration Offering Music, Games, and Queer Community

Posted on December 14, 2023

By Abby Stuckrath

This article was originally published in Tagg Magazine, here.

In Rehoboth Beach, Delaware, Gay Women of Rehoboth is hosting the Women’s Arts Project, a new event celebrating gay women this winter. 

As the third-largest LGBTQ+ community in the United States, Rehoboth has long been a hub for queer festivities. However, there has been a noticeable decline in LGBTQ+ businesses and spaces, particularly gay bars. “The gay bars that were here aren’t here anymore,” says Lisa Soens, co-organizer of Gay Women of Rehoboth. “There are only a few places that can be called a gay establishment.” 

The dwindling number of lesbian bars across the United States, from almost 200 in the 1980s to 31 today, underscores the need for alternative congregating spaces beyond traditional LGBTQ+ nightclubs. Soens is determined to build a queer community that extends beyond bars, emphasizing the importance of safe spaces for gay women in Rehoboth. 

Her vision includes exposure to new musicians and art while fostering connections, conversations, and learning experiences.

The Women’s Arts Project, held from January 12th to 14th, is a testament to this commitment. The event aims to uplift musical talent from the East Coast and provide inclusive entertainment during the winter months. “We thought we would welcome an event in the winter so that we could give the ladies something to do,” explains Viki Dee, a local musician and co-organizer. 

Friday kicks off with a poker tournament hosted by Las Vegas Women’s Poker Tournament runner-up DJ Brooke. The evening unfolds with musical performances by notable artists such as Dina Hall, Saxtress Pamela Williams, Gem Fatales,Nashville star Sarah Peacock,  and DJ Shadylady.

Saturday continues the festivities with a bingo championship and a keynote speech by Eboné Bell, Founder and Editor in Chief of Tagg Magazine. The musical lineup includes E’lissa Jones, Be Steadwell, Yasmin Williams, Vicci Martinez, and stand-up by comedian Jessica Kirson.

Sunday takes on a special significance as the event pays tribute to women veterans and first responders. “For women veterans, it’s always been a silent thing. We want to not make it silent anymore,” says Dee. 

Soens, inspired by her experiences volunteering with veteran women, aims to uplift their voices and give them the recognition they deserve. “I just feel like they aren’t recognized and given the honor that they deserve,” shares Sosen.  

The weekend concludes with a cornhole tournament, a fun way to end a celebratory event dedicated to ensuring all participants feel seen, heard, and welcomed. The Women’s Arts Project stands as a beacon of inclusivity, creating a space where the diverse voices of queer women can resonate and thrive. “I just want everyone to feel a part of the community,” says Soens. “We are creating a space for everybody.” 

For more information on Gay Women of Rehoboth and the Women’s Art Project, visit www.gaywomenofrehoboth.org.

Transgender Massage Therapists Share Tips On How to Find LGBTQ+ Friendly Services

Posted on November 22, 2023

By Abby Stuckrath

This article was originally published in Tagg Magazine, here.

LGBTQ+ massage therapists are creating new spaces for queer and transgender patients to feel not just accepted but seen. As practitioners work to craft gender-affirming spaces, there are multiple tactics that LBGTQ+ clients can use to ensure adequate care. 

Frances Reed, a massage therapist and educator in Washington, D.C. is teaching a new generation of LGBTQ+ inclusive practitioners, as well as leading medical research behind chest binding health. 

Washington D.C. is the only state or district that requires LGBTQ+ competency training for massage therapy licensure, says Reed. Anyone not living in the D.C., is left with the burden of educating therapists on transgender and queer care. 

Reed teaches that long-term binder compression can cause upper chest and back pain, as well as other serious health issues such as shortness of breath and loss of sensation in arms or fingers. Massaging the chest area can help mitigate chronic pain and significantly increase quality of life for binding individuals. 

To make sure that transmasc and genderqueer folks are receiving adequate care, Reed suggests bringing their binders to the session. 

“Some massage therapists don’t know what a binder really is,” says Reed. “So they imagine something that is not usually accurate, and that will affect how they might go about treating pain that you’re having from binding.” 

Thomas Lavi, a transgender massage therapist based in Oakland, California, says those recovering from postoperative top surgery, must discuss their physical limitations or recovery methods with their therapists. 

“Often your range of motion is limited to the parallel with your shoulder, you wouldn’t wanna stretch someone up above their head,” says Lavi. 

Again, Lavi stresses that many practitioners won’t be familiar with these limitations, so patients must be prepared to educate them on the main protocols of post-operative care. 

For those unable to access an LGBTQ+ specialist, Lavi says there are three things to do and look for when looking for an inclusive therapist: check their vibe, check their license, and make sure they respect draping and clothing techniques. 

“You have the autonomy to wear anything that you want and any trained massage therapist should be able to work with articles of clothing,” says Lavi. “That’s totally okay. It shouldn’t affect the impact of the massage and if they tell you that it does, they’re lying and you shouldn’t work with them.”

Reed says that gender affirming therapy offices don’t just accept transgender existence but make transgender clients feel seen and heard.

“When spaces understand what it is to be trans in the world socially, what it is to be in a transitioning body, are comfortable talking about bodies in language that de-emphasizes gender; you’ve actually created an actively affirming space, not just a space without discrimination or harassment,” shares Reed. 

For those concerned about cost, Reed says that transgender and queer therapists often offer a sliding scale or scholarship system. 

“It’s hard to be really focused on queer and trans community and not see the economic disparity that exists and so most of us tend to respond to that with some kind of financial model that allows for support of people who can’t afford the full rate,” says Reed. 

Since many massage therapists lack in-depth knowledge of transgender and queer care, Lavi and Reed suggest finding an LGBTQ+ massage specialist. 

“We’re having to teach our doctors what it is to be trans, what it means and what we need and that’s why it’s so special to have a trans therapist who can take that load from you,” says Lavi.