Past Heritage Center Art Exhibits


Roadside Last Gasps

February 9 – April 30, 2020

Exhibit Title: Roadside Last Gasps: Paintings by Joel Floyd

RECEPTION – Sunday, Feb 9, 2020, 2-4pm

Joel Floyd is a freelance scientific illustrator with an interest in natural history and roadside architecture. He is retired from the US Department of Agriculture where he worked on invasive plant pest issues. Joel has had many illustrations published in books, scientific journals, and for museum exhibits, but also explores artistic expression in watercolor, oil painting, and mosaics. He resides in University Park, Maryland with his wife Karen Sondak.

Artist Statement:

I began photographing dilapidated historic buildings along the Route 1 corridor in College Park, Maryland and beyond shortly after moving here from Arizona 18 years ago. Many locations remained in their abandoned state for a long time, but within the past decade began to go through a cycle of deterioration, demolishment, and development primarily for high rise university student housing. Using these photo references, I try to capture in paint the essence of their previous state of decay and succumbing to nature before obliteration or transformation into something else. Some of these buildings’’ past “glories” may show through in their last gasps.    

Description of Artwork (Title, Media, Dimensions, Price/Value, if not for sale)

“Exuding Quality, Route One, College Park, Maryland”, Oil on Canvas, 24 x 30 ” (gallery wrap) $1,800.

“Around Back, Bridgeville, Delaware” Oil on Canvas, 30 x 40″,  (with frame, 32.5 x 42″) $2,200.

“Little Tavern, Route One, Laurel, Maryland”, Oil on Canvas, 30 x 40″,  (gallery wrap) $2,800.

“Llantas Usadas, Route One, Beltsville, Maryland” Oil on Canvas,  22 x 36″,  (gallery wrap) $1800.

“Starlight Inn, Route One, College Park, Maryland” Oil on Canvas,  24 x 36″ (with frame, 27 x 39″)  $1800.

“Little Tavern, Route One, College Park, Maryland”, Oil on Canvas, 34 x 44″,  (gallery wrap) NFS.  On loan from David Ermisch and Craig Lamberton.

“Terrapin Taco house, Route One, College Park, Maryland”   Watercolor 20 x 26″ (with frame, 25 x 34″) $975.

“S & J Bar, Riverdale, Maryland” Watercolor,  14 x 20″ (with frame 20 x 26″) NFS.  On loan from Joan Sills

“230 Diner, Middletown, Pennsylvania”, Oil on Canvas, 18” x 36”, (gallery wrap), $2,200

IN-VISION – November 15 – January 31

In-vision embodies the diverse interests and practices by a handful of the visual arts faculty members at Bowie State University.  The show brings together artists working in graphic design, photography, painting, and drawing.  Whether working predominantly in abstraction or figuration, fantasy or reality, politics or apolitical concerns, each of the exhibiting artists shares a vision that embodying his or her point-of-view through visual media is one of the most impactful ways to inspire reflection and action in others.

Kevin Holder’s paintings utilize brilliant colors and masterful renderings in realism to celebrate the life and community of African diaspora cultures.  Planta pushes figuration and text into abstraction to produce elusive narratives that explore specific emotional states.  Art Vidrine’s photographs emphasize quirky encounters and seductive forms to approach social and political issues indirectly.  Jennifer White-Johnson’s vibrant photographic and graphic design practice raises awareness about a variety of pressing social issues in support of building communities.


Artists’ Bio/Statements:

Planta Raie Vilar (aka Jacqueline Reeder)

PlantaRaieVilar originally from Philadelphia, now working in Baltimore and New York city has exhibited extensively as a painter, mixed media artist and performer. Her Disclosure/Concealment series explores the visceral and analytical impact of narrative and aesthetic forms. Images are provoked by identity, role play, colloquial expression along with the aesthetic influences of popular culture and social media. Employing line and color as the primary means of mark making these concepts are created through a series of ‘staged portraits’ in which the artist, places herself and others as both ‘subject’ and ‘observer’. These photographed ‘stagings’ are reinterpreted and rendered using lineal, kinetic and idiosyncratic marks with acrylic and other mixed media on textured paper or canvas. The range of the images varies from 6” x 6” to 9 feet x 20 feet.


Art Vidrine

Art Vidrine is a multimedia artist, art critic, and Assistant Professor of Art at Bowie State University whose work focuses on the ways in which abstraction, perception, and agency structure our lives.

His art often embodies systems of abstraction to draw attention to what gets left out or destroyed by reductive thinking.  It emphasizes perception’s role in making sense of the world while influencing our decision making and actions.  It thematizes agency to prompt reflection on our possible responses and their consequences within a given situation.

Ultimately, two essential questions influence his work:  How are we limited from imagining alternative ways of thinking and acting?  And what can we do about it?

He received a BA in Comparative Literature from the University of North Carolina- Chapel Hill and a MFA in Fine Arts from the School of Visual Arts (New York).  He has exhibited in a variety of venues such as the California Conference for the Advancement of Ceramic Art, FUSE’s 3rd Thursdays in Allentown (PA), Miami Project (during Art Basel Miami), NIAD (CA), Sideshow Gallery (NY), Target Gallery (VA), and a yearlong installation at the San Francisco Zoo.


Jennifer White-Johnson

Jen White Johnson – Born in DC and currently residing in Baltimore. Jen White-Johnson is a Multidisciplinary Artist, Art Activist, Art Educator, and graduate of MICA’s Graphic Design Graduate Program. Currently, she works as a Assistant Professor of Visual Communications at Bowie State University.

In October 2018 she released an advocacy photo zine entitled “KnoxRoxs” dedicated to her autistic son, as a way to give visibility to children of color in the autism community. Since its release, the zine has received national and international recognition including features in AfroPunk, The 2019 Women’s March on Washington, The Autism Society of Baltimore, The MET Gallery in New York, and the National Museum of Women in the Arts.


Kevin Holder

Kevin Holder is a multidisciplinary artist working fluidly between painting, printmaking and computer graphics mediums.

He has received numerous awards and commissions for his artworks both nationally and internationally. Several of his works adorn office buildings in Washington DC and were selected to be among the nearly 200 works of art that were acquired by the DC Commission on the Arts and Humanities for the inaugural phase of the new City Hall Art Collection at the John A. Wilson Building, DC. This collection was unveiled in October 2006.

The desire to capture people’s moods and facial expressions are what drives my creativity. I love manipulating the oil medium to achieve a rich multilayered patterned texture that meticulous resembles a degree of realism.

Sabine Carlson: Tracing Ripples

August 13 – October 31

Artist Statement
The paintings in ‘Tracing Ripples’ are inspired by the land- and waterscapes around Lake Artemisia, Patuxent Wildlife Refuge, and the Paint Branch and Anacostia Rivers. Walking at a slow pace, I see combinations of detail moving in and out of view. These impressions become part of my materials, together with oil and acrylic paints, brushes, palette knives, squeegees, and the studio dog I have to be careful not to trip over at times. Ways of traversing landscape – out of need, routine, or just for fun, is a recurring theme as well. My painting process is one that emphasizes transformations as the fragmented imagery weaves into pictorial spaces. I aim for a wobbly kind of balance, where definition and doubt keep each other upright.


Bio
Sabine Carlson is an American painter born in Cologne, Germany. She exhibits widely in the United States as well as internationally. Her paintings are featured in ‘Studio Visit’, ‘American Art Collector’, ‘West Branch’ and ‘New American Paintings’. Her work is included in public, corporate and private collections in Germany, Italy, in the Netherlands, the United Arab Emirates and the United States. Carlson holds a BFA from the University of Minnesota, Minneapolis and an MFA from the University of California, Irvine. She has lived and worked in the Mid Atlantic Region since 1995. Her main studio is currently located in College Park, MD, where she lives with her husband Joel and their two rescue dogs, Bruno and Stan.


Inspired! Five Greenbelt Artists

May 15 – July 31

A creative group of five Greenbelt artists are featured in a new exhibit, “Inspired!” This exhibit is an inspired collection of artwork by Rachel Ann Cross, Sally Davies, Racquel Keller, Amanda Demos Larsen, and Valerie Watson which spans oil, acrylic, watercolor, and mosaic. All five artists are instructors at the Greenbelt Community Center. Rachel Ann Cross is an artist, musician, and educator who has been working in the DC area for over 25 years. Sally Davies is an illustrator and artist that has lived and worked in Prince George’s County for over 20 years. Racquel Keller is an artist who has lived in Prince George’s County for almost two decades and creates work in a variety of mediums including painting, drawing, printmaking, photography and assemblage. Amanda Larsen Demos is an artist known for her portraits and is currently an Arts Education Specialist for Greenbelt Recreation Arts. Valerie Watson is known for her large-scale watercolors and is a visual art consultant for the Prince George’s Public Schools.


LOOK

March 4 – May 1, 2019

Artist Bio:

Sisters – Amanda Demos Larsen

Amanda Demos Larsen lives in Greenbelt, Maryland with John, Zoe, Raphael, Theophilos and Ole Larsen. Amanda received her MFA in 2011 from Pratt Institute in Brooklyn, NY, and is currently an Arts Education Specialist for Greenbelt Recreation Arts. She enjoys working in a supportive and artistic environment and loves being involved in bringing more art to the people of Greenbelt.

Contact info: amandademoslarsen@gmail.com

Works on Display

  1. Leigh, oil on canvas, 14” x 24”, 2019, $480
  2. Self Portrait Looking Up, oil on canvas, 14” x 24”, 2018, $480 
  3. Vivian, oil on canvas, 16” x 24”, 2019, $541
  4. Dee Dee, oil on canvas, 20” x 24”, 2018, $663
  5. Lynn, oil on canvas, 18” x 24”, 2018, $602
  6. Nelladee, oil on canvas, 18” x 24”, 2019, $602
  7. Beth, oil on canvas, 18” x 24”, 2018, $602
  8. Sisters, oil on canvas, 24” x 24”, 2019, $785
  9. Zorah, oil on canvas, 14” x 24”, 2018, $480
  10. Megan, oil on canvas, 14” x 24”, 2019, $480

Sally Davies: Point of View

December 12, 2018 – February 28, 2019

Works On Display

Sally Davies has lived and worked in Prince George’s County for over 20 years.  Originally from England, she studied illustration and graphic design at Sheridan College in Canada.  Her illustrations have been published in magazines, cookbooks, menus, textbooks, posters, and 14 children’s books in Canada and the US.  Her award-winning illustrations are done with ink line and bright watercolor washes.

The paintings in this exhibit, POINT OF VIEW, are part of her series of landscapes with unusual vantage points.  “In this current political world of insular countries and self-protectionism, I want to show our planet as one whole place, a community.  Aside from recognizable architectural clues for a specific place, the people in my paintings look so familiar. They are doing ordinary things, like going to work, taking kids to school, cycling home, and meeting with friends.  I want to show that common bond of humanity throughout the world.”

Contact info: sallyjkadvies@hotmail.com

Works on Display

  1. Drop in the Bowl, Greenbelt Skate Park (18 x 36 inches, Acrylic on Gallery-Wrapped, Deep Canvas) $1700.
  2. Row of Benches (18 x 36 inches, Acrylic on Gallery-Wrapped, Deep Canvas) $1700.
  3. The Long Ride Home (18 x 36 inches, Acrylic on Gallery-Wrapped, Deep Canvas) $1700.
  4. “Are We There Yet?” (18 x 36 inches, Acrylic on Gallery-Wrapped, Deep Canvas) $1700.
  5. Dancing Tulips (12 x 36 inches, Acrylic on Gallery-Wrapped, Deep Canvas) $1100.
  6. College Cafeteria (24 x 48 inches, Acrylic on Gallery-Wrapped Canvas) $2200.
  7. The Big Bowl, Greenbelt Skate Park (36 x 18 inches, Acrylic on Gallery-Wrapped, Deep Canvas) $1700.
  8. Daddy Drives (36 x 24 inches, Acrylic on Gallery-Wrapped, Deep Canvas) $2200.
  9. Four Boys & a Sculpture (36 x 12 inches, Acrylic on Gallery-Wrapped, Deep Canvas) $1100.

Anacostia Heritage 

by the Hyattsville Community Arts Alliance

November 3, 2017 – January 6, 2018

For more details – www.hcaaonline.org

Trees (Largo) – Constance Haaser – $300 (oils)

Painting has always made me happy.  When I retired from my Federal career,  I decided that I needed  to get better at this painting happiness, so  I enrolled in the Art Program at Prince George’s Community College.  I found both the students and professors to be welcoming, supportive and creative.   Trees was painted on the campus during my time there as a student.  The chair of the department challenged us to free ourselves from tiny details and focus on the feeling of a scene using a large surface and the largest brushes we could find.  I hope the painting communicates the joy I felt while painting it.   This particular view of Kent Hall through the trees has been overtaken by the expansion of the Queen Anne Fine Arts building.  I look forward to returning to the campus when all of the construction is complete and perhaps creating a Trees II. 

chaaser@verizon.net


Anacostia Fall – Denise Marie – $600 (oils)

This painting was inspired by a kayaking excursion on the Anacostia River one Fall day. I was taking photographs of the Fall colors for potential paintings.  The colors reflect into the river, and the tide makes rivulets in the river as well.  The sky and the clouds also reflected on the water.  The tree with the vibrant orange leaves is no longer there on the river.  It was washed away during one of the storms a few years ago.

Denise Marie Brown | Denise Marie Painting | www.denisemariebrown

301-699-1148 | denise76marie@gmail.com

Riversdale – Gerald King – $1200 (glicee print)

Gerald A. King, who passed away in November 2012, was the owner and director of the Atelier Royal art studio in Riverdale Park, MD.   Gerald King was intimately involved with cultivating fine art in Riverdale for over 30 years from his Atelier Royal (named after his father and artist Royal King).  Mr. King produced countless paintings and drawings as part of several series of historical, natural environment, and local Riverdale scenes.  Mr. King captured the Riverdale community through its landmarks, social activities, and relevant culture, past and present.  Published in books, magazines and the Riverdale Park Town-Crier, Gerald’s images and scenes from historic 1700-1810 Riverdale through the 20th and 21-century illustrated the transformation of Riverdale Park and the surrounding area. His diverse visual body of work ranged from researching, visualizing, and capturing rural and farm life at the Calvert Mansion through to modern Riverdale entertainment and day-to-day life.

Jamie King-Morris | jamie4604@gmail.com.

Lady Liberty – Margot Braswell – $150 (pastel)

I did this portrait of Lady Liberty about 15 years ago to inspire in me feelings of of strength, wisdom, and freedom. I hung her on my office wall when I worked as a writer/producer at the Voice of America. I’ve since retired and have been making portrait art of people from whom I also find inspiration.  Since January 20, 2017 I’ve been taking every opportunity to exhibit Lady Liberty as a reminder of what we all owe to the tenets expressed on the statue’s inscription.

Margot Braswell  | HCAAonline.org | margot.braswell@gmail.com | 240-505-3545



Mores Plains, Upper Marlboro – Joseph Rogers – $400 (oils)

This ideal landscape was done in the 1835 Romantic mood of an area in Upper Marlboro known as “Montpelier of Moore’s Plains” (circa 1845). There were 600 acres, and it was a pleasure to walk or ride from Route 301 to the “Old Mill Farm” on the river. The painting reflects the pleasure of those times.



Golden Sunset – Denise Marie – $400 (oils)

This was another day hiking at the Bladensburg Waterfront Park, in Summer, and the sun was setting and reflecting on the water.  The river was moving and the rivulets were swirling by this point, not far from the bridge.  The colors of the sun, the grassy bank, the river, the sky, were colliding…using small brush strokes from a watercolor #0, helped me to convey this effect on the water.

Denise Marie Brown | Denise Marie Painting | www.denisemariebrown

301-699-1148 | denise76marie@gmail.com



Trees on the Edge – Jan Garland – $225 (plastic bags)

As an artist, I believe that we can and should use our viable means of expression to impact issues of our day – like preserving the environment.  I submit myself to this responsibility and proudly consider myself an eco artist.

My art work is done with recycled materials like paper and plastic.

This piece is done with plastic bags.  I titled this because the trees go right up to the edge of the water and man is right up to the edge of destroying nature unless we pay more attention to our abuse.

jan.garland@instagram | jangarlandart@yahoo.com | 301-351-8022

Bladensburg Sunset – Denise Marie – $400 (oils)

This was one of two paintings I did of a sunset in my back yard, in Bladensburg.  Our home sits on a high point on our street, and I have a great view of sunsets, as our backyard faces west.  There was a border of Locust trees, on our property line, that often silhouetted in the sun.  Some of these trees are gone now.  I enjoy the images of bright color and contrast, depicted in this painting.

Denise Marie Brown | Denise Marie Painting | www.denisemariebrown

301-699-1148 | denise76marie@gmail.com

Drummer – Richard Brown – $650 (walnut)

Notable News – Jan Garland – $80 (collage)

As an artist, I believe that we can and should use our viable means of expression to impact issues of our day – like preserving the environment.  I submit myself to this responsibility and proudly consider myself an eco artist.

My art work is done with recycled materials like paper and plastic.

Newspaper clips follow us back to unforgettable times. I think it’s interesting to read back and see our growth on some things while others stay the same.

jan.garland@instagram | jangarlandart@yahoo.com | 301-351-8022


Connecting River Milestones…

Maryland’s and District of Columbia’s Waterways…

September 5 – October 15, 2017

Bruce McNeil

Environmental Fine Arts Photographer

All digital images are printed as 24″ x 38″ screen wraps.

Birthplace of the Anacostia

Birthplace of Anacostia River…Sandy Spring, MD, 2014

Sandy Spring, the birthplace is a tributary of the Anacostia River as a historic well in this landscape image. Sandy Spring is not just the source of the river’s Northwest Branch. The adjacent community was founded by Quakers who freed slaves in the 1700s and also was a station in the Underground Railroad, offering freedom to a steady stream of blacks escaping slavery. In the words, of the First Proprietary Governor of Maryland, Leonard Calvert, after the founding of Maryland, in a letter to a merchant in London, described, “Anacostan, ”a Latinized term as one of the three best places in the colony for trading with natives. In fact, the name “Anacostia” is derived from the Indian word “anaquash” meaning a village trading center for the “Nanchotank” Indians, a semi-agriculture tribe who were publicized as the best hunters, and fur traders that lived in the Maryland and District of Columbia region about 10,000 years ago.


An Overpass View on Tilly Road

An Overpass View on Tilly Road, Northeast Branch, PG County, MD, 2014

Imagining a time capsule of the days of yesteryears, before, settlement along the Anacostia River in this scenery image. Stretching, approximately, 8.7 mile-long, Anacostia showcase her rushing waters glistening, along the rock-lined muddy banks of adorned flora gracing the serrated shorelines. Many of the 13 tributaries are creeks and streams teeming with a form of snow or rain. Anacostia carries that water into the Potomac River where it eventually flows into the Chesapeake Bay lying inland from the Atlantic Ocean.




On the Jug Bay Dock Facing South

On the Jug Bay Dock Facing South, Patuxent River Park, Upper Marlboro, MD, 2014

Transported to an era where time stood still in an idyllic choreographed dance with plush foliage as awe-inspiring onlookers in this landscape image. Archaeological and cultural resources tell the story of 10,000 years of human habituation. This 2,000 acre tract of land is composed of various natural habitats that buffer the Patuxent River and provide a critical link in conserving the area’s natural resources as a portion that has become a state wildlands area. Jug Bay Natural Area is one of the most important freshwater tidal estuaries in the Chesapeake Bay region. It is the longest river,Jug Bay Natural Area is a component of the Chesapeake Bay National Estuarine Research Reserve Maryland. It is 110-miles length and the longest river entirely within the state. Jug Bay is the headquarters for the Patuxent River Park. The National Audubon Society designated Jug Bay as an “Important Birding Area,” and the Maryland Association of Environmental and Outdoor Education designated it as a “Green Center.” According to historians, the second European explorers to the area was in 1608, by Jamestown, Virginia founder, Captain John Smith. He noted the name “Pawtuxunt,” an Algonquian Indian word meaning “rapids.”

Mount Calvert Historical and Archaeological Park Lookout

Mount Calvert Historical and Archaeological Park Lookout, Upper Marlboro, MD, 2014

A wonder of nature, welcomes an impressionistic view of a part of the river that civilizations departed ages ago. Mount Calvert’s archaeological resources span 8,000 years of human cultures with Native Americans, Euro-American and African-Americans. In 1658 Phillip Calvert patented Mount Calvert as a 1000-acre plantation. An English colonial town was established at Mount Calvert in 1684 through an Act for the Advancement of Trade passed in 1683 to assist in establishing towns throughout the Chesapeake region to encourage settlement and commerce. The town became the Prince George’s County first seat of government in 1696 and was renamed Charles Town due to its economic, governmental and religious activities. In 1721, the county seat was moved to Upper Marlboro and Charles Town gradually disappeared. From 1770 until the Civil War, Mount Calvert was a typical Southern Maryland tobacco plantation. Still, today, visitors can explore a bygone era at the 1780s plantation house that is all what remains and now serves as a museum representing three cultures.

Anacostia Watershed

Anacostia Watershed, Bladensburg Waterfront Park, Bladensburg, MD, 2015

Frequently, I return to the Bladensburg Waterfront Park in the fall and winter strolling aimless, until, I come across a sense of the place that is reminiscent of a timeless period. In this primeval image, the waters are flowing down from numerous tributaries and then filtered throughout the Anacostia watershed, before, it becomes the river itself. The mouth of Anacostia is visible through the filigree wintry trees in the background as her moving waters gleam, amongst the encrusted muddy riverbeds beautifying the stately wetlands. Anacostia watershed is a densely populated and developed area with more than 800,000 residents. The Environmental Protection Agency reported that less than 10% of the original wetlands and farms remain. This 176 square mile area of land encompasses most of the eastern half of the District of Columbia and large portions of Prince George’s County and Montgomery County in Maryland.

Entrance to Anacostia River

Entrance to Anacostia River, Bladensburg, MD, 2015

Discovering Anacostia River eternal beauty and vibrancy define me as both artist and environmentalist. The lush plant life and tree canopy along the river are captured in this landscape image. Equally important to the composition is the sunlight and cloud formation, which reflect on the water and produce an awe-inspiring scene. This photograph was taken from another pedestrian bridge in the area. Literally, one of the few places that Anacostia becomes immortal of contentious events and priceless milestones that shaped the United States of America at the loss of what was once a major and thriving river. The Town of Bladensburg was a busy governmental designated tobacco and inspection port, shipping out flour and tobacco, until, the river silted up by 1800 due to extensive soil erosion from upland tobacco farming. From steering any ocean-going vessels due to its depth of forty feet to grounding the smallest boats, this was the beginning of what Anacostia became the most “forgotten river” and one of the “most polluted,” until the late 1990s. After the closing of the port, and the horrendous War of 1812, the area still prospered due to its strategic location and proximity to the growing nation’s capital.

Night Emanates…11th Street Bridges

Night Emanates…11th Street Bridges, Washington, D.C. 2016

Night comes. Anacostia River and the sky envelope each other, as powerboats are returning from an outing on the waters that predates the birth of modern-day Washington. I shot this natural photography while standing on the 11th Street Bridge facing west adjacent to the home of the U.S. Navy personnel. Since 1800 there has always been an evolving or in the works 11th Street Bridge at the same site that connects Capitol Hill to east of the river neighborhoods. The complex of three bridges convey, Interstate 695 across the Anacostia to its southern terminus at Interstate 295 and DC 295. Historians observed that the original bridge played a major role in the War of 1812. It burned in 1846. After extensive repair, it was replaced in 1873, and again, in 1907. During the 20th century and throughout the 21st, until, today, 11th Street Bridges has undergone large-scale transformations and expansions to match the changing times of increased population and city growth and development. In 2019 the 11th Street Bridge Park is slated to be open.

Looking at the U.S.S.Barry, Last Sunset

Looking at the U.S.S.Barry, Last Sunset, Washington, D.C., 2016

This landscape image was shot while standing on the shores of Anacostia Park. The brilliance of the fiery sunset lowering in the background mirrored the crimson waters as an adieu to the notable USS Barry (DD-933), a destroyer, before, it was schedule for the dismantlement in Philadelphia in 2016.  The outcome produces a vibrancy where each element reverberates and celebrates the other. Since 1983 the USS Barry was a museum ship and special events venue located in the Anacostia River at the Washington Navy Yard. After World War II, the U.S. Navy commissioned eighteen destroyers as the first new warships with advances in jet technology and eight vessels in the class, including the Barry were equipped with enhanced anti-submarine capabilities.



Rush Hour on John Philip Sousa Bridge

Rush Hour on John Philip Sousa Bridge, Washington, D.C., 2015

In this landscape, I reflect on the controversial topic about the abundance of wildlife on the Anacostia despite the recent failing F grade warranted by the toxic and pollutants that are still present. These charismatic seagulls create joyful aerial acts for any birdwatcher or artist. On view is the John Philip Sousa Bridge (1854 – 1932) or Sousa Bridge, first built in 1804, and now a continuous steel plate girder bridge carries Pennsylvania Avenue across the Anacostia River is in the background located in southeast. Named after the legendary Washingtonian patriot, composer and conductor of patriotic and military marches (136) lived near the bridge’s northern boundary.


Anacostia Meets Potomac At Buzzard Point

Anacostia Meets Potomac At Buzzard Point, Washington, D.C., 2015

By the time, British explorer, Captain John Smith’s, first visit to the area in search of the main branch of the celebrated Potomac River, Anacostia was well-established as a fortified trading destination for Native Americans, as far away as New York. He recorded the year of, 1608 as he mapped the river and documented his great experiences. Anacostia appeared on the oldest map, published in 1612 as “Nancotchtank.”  Smith wrote about his friendly encounters with the “Anacostans,” who lived at the confluence of the Potomac River and Anacostia River in what is now Washington, D.C. on the banks of east of the river. According to cultural anthropologists, Native Americans still classify the Anacostia River, by its original name, the Eastern Branch of Potomac River.

BRUCE MCNEIL

Environmental Fine Arts Photographer

bmcneil99@gmail.com