Tomorrow the Sun Will Rise Offers a Timely Look at the Local Art World 6%
By Stephanie Rudig6%
8/7/2026, 10:46:16 AM
BS Summary: This article contains 23 faulty reasoning types, including Hasty Generalization, Availability Heuristic, and Negativity Bias, with Biased Writer Voice as the most egregious example at 29.3% saturation with 257 hits. Analysis detected 1,372 faulty-reasoning hits from 877 analyzed words, generating a BS Score of 14% and a BS Rank of 6% (28,498 of 30,156 articles). This article is better (less manipulative) than 94.50% of the article peer group.
Gail Shaw-Clemons, “Shorthand Revisited” (2025)
What have artists in the D.C. region been doing since November 2024, when the second go-round of the Trump administration was elected?
Tomorrow the Sun Will Rise at the Phillips Collection provides some answers to that question, bringing together works from 48 area artists for a limited-run special exhibition.
The exhibit’s jurors had the tough job of sifting through submissions from 1,500 of the region’s artists, winnowing the final selections to showcase an up-to-the-minute slice of what’s happening in local art.
The D.C. region is a notoriously difficult area in which to find studio space and make a living as an artist, and Danyela June Brown nods to this in a video performance piece in which Brown rows across the Potomac River with large cutout letters reading “STUDIO” floating along the side of the seacraft.
It’s telling that many of the exhibitors here hold down full-time jobs on top of their artistic practices, or else log multiple side extracurriculars such as activism and teaching.
Or maybe it’s just a sign that even D.C.’s creative class isn’t immune from the region’s stereotypical workaholism.
Regardless, this is a show full of artists who are squeezing themselves and their work wherever they can.
Where else but here, after all, could you find a painting done by someone with a PhD in environmental engineering hanging in a museum?
That’s the case for Se Jong Cho , who creates miniature worlds where the mechanical collides with the fantastic, and mysterious alphabets proliferate.
This painting is hung near some other linguistically focused works, unsurprising for the erudite D.C. crowd: the colorful paper sculptures of Gail Shaw-Clemons , inspired by her mother’s shorthand; the calligraphed poems that look like cartography from Abdulrahman Naanseh ; and Leslie Holt ’s embroidered re-creations of the reminder notes her parents with dementia wrote.
In all of these, the letterforms complicate or obscure their subjects rather than labeling or explaining them.
The exhibit is grouped into five freewheeling sections, but connections and threads crop up among disparate works.
In the corner of the room organized around the natural world and environmental concerns, there’s a fortuitous caffeine-fueled corner with three works that incorporate coffee.
It’s used as a tint in Mark Armbruster ’s multimedia depiction of coastal erosion, as one of many substances that creates chemical reactions in the bark and brain cell-inspired patterns done by Pamela Crockett , and as a kitchen table developing agent in the analog photographs of Sobia Ahmad .
The common use of this material is mere coincidence, but is a great example of how these artists are thinking on similar wavelengths while taking vastly different approaches to their work.
Sifting through back catalogs or wreckage comes up again and again, and one of the dedicated themes of the exhibit is archiving, appropriate with the various researchers and teachers in the mix.
Realist oil painter Joey Mánlapaz has captured a hot dog stand with a face mask hanging from a nearby sign post, a ghostly reminder of the empty pandemic-era streets.
Her work documents D.C. streets and the elements that complete them, like storefronts and newspaper boxes, and situates local viewers in uncannily familiar settings.
Don Kimes made the most of a 2003 flood that destroyed much of his own artistic archive: He now salvages and reworks his destroyed pieces, as in an oval canvas collaged with his old remnants and stained with a watery acrylic and ink effect.
Katie O’Keefe, “Paralysis” (2025)
While many works branch into the surreal and cerebral, a throughline of the exhibit is sensual, tactile works that show the physicality and labor that went into them.
A centerpiece of the show is Mary Early ’s cast beeswax sticks, strung into lines and hung like a beaded curtain in the middle of the gallery; the scent of her recent medium of choice pervades the space.
A “textile painting” by Katie O ’ Keefe features embroidery on tulle and silk to create mirrored forms of a woman, the strands of hair and shadows of their bodies lovingly rendered.
She uses these translucent forms to document her own experience of living with chronic pain.
Aluminum is painstakingly hammered and engraved by Sharon Cheuk Wun Lee to create domestic scenes borrowed from colonial-era postcards, images which were often used to exoticize Asian women.
Here the artist removes the sitter from the chair, instead imbuing the scene with the obvious traces of her own hand.
Labor and bodies are most poignantly evoked in Ringo Lisko ’s “Sorrow, or Frustration,” which emblazons the words “OR SIMPLY LONGING TO STAND NEXT TO SOMETHING BEAUTIFUL” across the top wall of one gallery.
The artist cleaned Phillips Collection rooms, collecting the attendant dust to shape the letterforms, meaning the words are literally composed of the skin cells of people who come to the gallery.
The phrase is a fitting motto for why people come to museums in the first place, or an expression of the intermingling that happens when people get close to each other.
Tomorrow the Sun Will Rise runs through Sept. 20 at the Phillips Collection.
Open Tuesday through Sunday, 10 a.m. to 5 p.m. phillipscollection.org .
$20.
Speakers
6speakers25%attributed speech662writer words
Selected voice
100%flagged-word coverageDon Kimes
44 attributed words20% of attributed speech79% writer coverage
Attribution is sentence-level. Pattern percentages are calculated only from words assigned to that voice.
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