To understand Maggie Michael’s paintings, start from the bottom.
Washington, D.C
Review | Maggie Michael may be D.C.’s most vital, volatile painter
In “Understory,” a show of Michael’s recent works on view near Union Market, motion is always key. Tall vertical paintings such as “Boulder Monument (Orange)” (2020/2022) and “Moon Fall (Mt. Hood, Mt. Sopris, Clay)” (2024) evoke the volcanic action of an idea rising to the surface and spilling over. The latest works by Michael — perhaps the most vital and visible D.C. painter since Sam Gilliam — unfold as a series of volatile discoveries.
Michael’s lyrical painting is a reminder of the power of pure abstraction as a lens for finding the world, as it is and as it could be. That Michael’s first major solo show since 2016 arrives at an all-time nadir for abstract-expressionist painting only makes the show more riveting.
Ten years ago, things were different. An overheated market was fixated on highly abstract post-minimalist painting, inviting a craze by collectors for “zombie formalism.” But abstraction is no longer top of mind for curators and dealers. Instead, museums and galleries across the country are deeply engaged with figurative painting, tackling urgent issues about identity and representation. Some critics say the rebound has gone too far, subbing a fad for abstraction with a fever for “zombie figuration.”
Michael’s style recalls mid-century ideals about the value of painting. Objects make frequent appearances on her canvases. A small grid-like device shows up in “Pink for Kiefer, Homage to Midgard” (2023-2024) and other works, a way of mentioning the hard-edge geometric tradition in abstract painting while also toying with the notion of the surface. The snakeskin that Michael pins to “Night Studio” (2024) is a casual quotation of Robert Rauschenberg, whose sculptural combines stretched the notion of painting with taxidermy and tires. She has an arsenal of abstract-expressionist strategies at her disposal, but as a stylist, she makes them all her own.
Michael produced 15 of the paintings in “Understory” while working as an artist-in-residence at the Joan Mitchell Center in New Orleans. During her residency, Michael says, she tried to produce a diptych or triptych in tribute to Mitchell, the New York School artist who relished large-format paintings, but it didn’t happen. That’s not so surprising. Michael is a tighter painter, and her style is much more densely plotted. For “Understory,” which occupies a space that once served as a Lululemon store, Michael uses the former fitting rooms to showcase a rotation of more than a dozen small paintings, some as little as 10 inches square — small in scale but not in scope.
With its epic sweep, “Chagall’s Horse Lands in Utah” (2021-2022) could easily take up an entire wall. In the painting, the loosest figure of a horse charges under an ocher orb that might signify a setting sun. Michael frames this circle with a stencil from player-piano print roll, another one of the artist’s signature marks. This painting summons the vast reaches of a twilight dreamscape, but the actual production is quite condensed. Michael delivers novellas that read like myth.
“Chagall’s Horse Lands in Utah” could be a fitting title for Michael’s entire project. Her approach to drafting abstract sagas draws on a rich and distinctly American painterly tradition. One of her own paintings tests the rule: “American Seance for CoBrA (Malachite)” (2022) stands apart from the others, with a muddled, primitive, almost Crayola-like brushstroke. Both the title and style nod to CoBrA — a collective of postwar European painters from Copenhagen (Co), Brussels (Br) and Amsterdam (A) — and specifically within this group Karel Appel, the founder from Amsterdam. Nestled within this very non-American and un-Michael-like piece is a section of painting that resembles malachite, a mineral whose radial copper banding is prized by Navajo and Hopi tribes in the Southwest.
These vivid undercurrents bubble up in one painting after another, although the sheer size of “Understory” means that viewers might miss such moments. The show, assembled by Michael herself, features nearly 50 paintings staged on multiple levels. At 3,000 square feet, the space is vast enough that it doesn’t feel cramped or forced; in fact, only an especially prolific artist could hope to fill it. But “Understory” risks being overwhelming. Two or three subsets of paintings in this show could easily stand on their own.
The most difficult painting on view might also be the most figurative. The composition of “Olympia’s Odalesque” (2017/2018) speaks directly to Édouard Manet’s “Olympia” (1863), the reclining nude Venus whose hand rests on her thigh like a tarantula. In Michael’s composition, a hard-edge rectangle intersected by a chevron conveys the thrust of a chaise longue within a frame. But the figure-ish shape inside that frame is cramped, its head missing, with only a nipple-like protrusion to suggest any feminine identity — a bleak reading of the original.
It may take another biennial or two for expressionist paintings to come back into vogue. Abstraction has lost its place, perhaps, but none of its power. Swoops of texture and gesture in a painting such as “Antelope Falls, Nude Descending” (2024) can unlock a primal feeling, as poetry or music manifests goose bumps or heart palpitations. Michael’s paintings dwell in that rush of blood, that sense of sensation.
If you go
Maggie Michael: Understory
1256 Fourth St. NE. unionmarketdc.com.
Washington, D.C
Pleasant, spring-like weekend for Virginia, Maryland, DC ahead of active start to March
After one of the coldest winters in years, the DMV is ending the month of February, and meteorological winter, with a nice spring preview.
Temperatures will reach the low 60s area-wide Saturday afternoon under mostly sunny skies. A real treat for the final day of February, enjoy!
Sunday will bring a few changes as an active weather pattern begins to bring in March.
A cold front will slowly move through the area and be mostly starved of moisture. There is a chance at a spotty shower or two, but most stay dry under mostly cloudy skies.
Temperatures will drop throughout the day as the front moves through with most afternoon temperatures in the 50s falling to the 30s by nightfall.
European model forecast rainfall totals
This front will stall just to the south and be a focal point for several days of active weather next week around the DMV.
A wintry mix looks likely Monday with temperatures near freezing with little to no wintry precipitation accumulation, but a different story as that will then switch to all rain chances Tuesday through about Friday.
BE THE FIRST TO COMMENT
Stay tuned to the First Alert Weather team as they continue to monitor forecast trends heading into next week.
Washington, D.C
DC celebrates boost in college grant program for students – WTOP News
The expanded funding aims to make college more affordable for thousands of D.C. students, continuing a program that has already helped nearly 40,000 graduates pursue degrees nationwide.
D.C. Mayor Muriel Bowser went back to school on Thursday. She headed to the gym at Coolidge High School in Northwest to make an announcement that could make college more affordable for eligible D.C. high school students.
Standing at the podium in front of a vibrant mural in the gymnasium, Bowser told the students, “A few weeks ago we got some good news from the United States Congress!”
“Even they can get it right sometimes!” she added.
The news from Capitol Hill was that funding for the 25-year-old D.C. Tuition Assistance Grant program, or DCTAG, has been increased, something Bowser said she’s been working toward for 10 years.
Starting in the 2026-27 academic year, the maximum annual award for students who apply and qualify for the grants will go from $10,000 a year to as much as $15,000, and the overall cap increases from $50,000 to $75,000.
“These are real dollars guys, a real $15,000!” Bowser told the students. “This year alone, 4,500 students were approved for DCTAG, and that’s the highest number that we’ve had in the last five years.”
Since DCTAG was established, Bowser said nearly 40,000 D.C. high school students were serviced through the program, attaining degrees at more than 400 colleges across the country.
Among those who benefited from the DCTAG program was Arturo Evans, a local business owner who grew up in Ward 7 and graduated from D.C.’s Cesar Chavez Public Charter School.
Speaking to the Coolidge students, Evans explained that as a high school student, he didn’t know if his dreams would ever come true.
“Do your homework, go to class, be on time, listen to your teachers,” he said. “Do not let your current situation determine who you can be tomorrow.”
Evans said without the grant money available in the DCTAG program his college prospects would have been “very limited.”
“I probably would have stayed local, probably would have had to go to a community college,” he said.
But he told WTOP, since he applied for and received grant money through the program, “TAG was able to pave the way for me to go ahead and achieve my dreams and go to my dream school,” at the University of Nevada, Las Vegas.
While he was at UNLV, Evans said his mother’s illness meant he had to return to the District to help care for her. But thanks to help from his DCTAG adviser, he was able to complete his degree before becoming the CEO of his own D.C.-based business.
Among the Coolidge students attending the event was senior Victoria Evans (no relation to the speaker Arturo Evans), who also was in the DCTAG program and serves as the Command Sergeant Major of the Coolidge Junior Army ROTC.
Victoria Evans said she hopes to study medicine, and explained, “I found out about DCTAG through my school counselors and my college and career coordinators.”
Asked about the application process, she said, “It’s not hard at all. I would definitely say go and get the money they’re providing.”
D.C. Del. Eleanor Holmes Norton pushed to establish the funding when she introduced the D.C. College Access Act, which passed Congress in 1999. It was designed to address the fact that, since D.C. doesn’t have a state university system, D.C. students had limited access to in-state tuition at public colleges and universities.
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Washington, D.C
Six months into federal surge, questions persist over MPD’s level of involvement
WASHINGTON (7News) — More than six months into the federal law enforcement surge in the District, questions remain about how the Metropolitan Police Department’s level of involvement in joint operations and what information the department tracks to ensure accountability.
Councilmember Brooke Pinto (D – Ward 2), chairwoman of the Committee on the Judiciary and Public Safety, held an oversight hearing of three public safety agencies on Wednesday, including MPD.
The bulk of the 10.5-hour meeting focused on testimony from concerned residents and Interim Chief Jeffery Carroll about the police department.
“Interim Chief Carroll’s testimony provided a clearer sense of how the federal surge of officers is managed overall; however, many questions still remain regarding the ongoing investigations into the three federal agency involved shootings and how and where deployment decisions are being made and which agencies are handling arrests,” Pinto said in a statement to 7News.
At the same time, more residents are raising alarms about federal agencies responding to 911 calls. Carroll said it is not new for agencies such as the U.S. Park Police and the U.S. Secret Service to respond to those calls, but residents are concerned that other agencies are reportedly starting to show up as well.
SEE ALSO | DC Council committee holds oversight hearing on MPD
“When we say law enforcement in DC in 2026, who are we talking about, who’s there, what are they doing, what limits and regulations and oversight are they beholden to, and what recourse do residents have?” Bethany Young, director of policy at DC Justice Lab, told 7News.
“If you call 911, MPD is showing up,” Carroll testified Wednesday. “Can other agencies hear those calls that have those radio channels? Absolutely, they can. But MPD is being dispatched a call and MPD is responding.”
“You see now the uneasiness of some people calling for help,” Councilmember Christina Henderson (I – At-Large), responded to Carroll. “No, I definitely understand,” Carroll replied. “I’m not saying it’s a situation that we want to be in or where we want to be, but I want to make sure that we’re transparent and clear on what the state is right now. That’s what the state is.”
Requests for comment were sent to the D.C. U.S. Attorney’s Office and the mayor’s office about Carroll’s testimony. The mayor did not make herself available for questions at a public event on Thursday.
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