DMV Women of the Arts featured by NBC9 News
I was interviewed by NBC9’s Shawn Yancy in connection with the DMV Women of the Arts exhibition, curated by Lenny Campello, which highlights women artists shaping the cultural landscape of the Washington, D.C., Maryland, and Virginia region. The interview focused on my artistic practice, the importance of representation, and the impact of community-centered exhibitions in amplifying women’s voices in the arts. It was an honor to share my perspective alongside such a powerful group of artists and to contribute to a broader conversation about visibility, identity, and creative labor in the DMV.
Faces of America
Exhibition Details
Title: Faces of America
Artist: Selena Noir Jackson
Curator: Babatunde Olufon
Location: Rhizome, 6950 Maple St NW, Washington, DC
Dates: January 11, 2026 - February 1, 2026
Opening Reception: January 11th, 2-5pm
Artist Talk: January 15th, 2-3:30pm
Workshop: January 20th, Time TBA
Closing: February 1st, 2-5pm
Rhizome Presents “Faces of America,” a Solo Exhibition by Selena Noir Jackson
A Living Archive of Untold Stories and Contemporary Identity
Curated by: Babatunde Olufon
Washington, D.C. - January 11th, 2026 February 1st, 2026.
Rhizome is honored to present Faces of America, a solo exhibition by artist Selena Noir Jackson, curated by Babatunde Olufon, on view from January 11, 2026 to February 1, 2026. Bringing together an expansive series of intimate oil portraits, Jackson maps the complexity of American identity through the lived experiences of the people she encounters friends, artists, neighbors, migrants, and community members whose stories often go untold.
Faces of America stands as a counter-narrative to the reductive stereotypes and oversimplified categories that dominate mainstream media. Jackson’s portraits affirm dignity, visibility, and individual truth through a practice she describes as an “act of rebellion against the threat of erasure.” Each work is built through closeness, conversation, and care, forming a nuanced mosaic of identities across the Washington, D.C. metropolitan region and beyond.
“I paint the people who shape me; those whose stories deserve more than passing attention,” Jackson says. “This project honors everyday truth, the fullness of identity, and the complexity of being seen.”
Curator Babatunde Olufon is highlighting and emphasizing the relational and archival dimensions of Jackson’s practice. “Selena’s work represents a profound commitment to bearing witness,” Olufon notes.
“These portraits function as both intimate encounters and historical documents; a testament to the communities and individuals who define this moment in American life.”
The exhibition includes portraits of Black Americans, immigrants, transgender and nonbinary individuals, activists, and artists whose intersectional identities challenge assumptions about what it means to be American. From Var, a Russian-American transgender artist resisting erasure, to Felicia, who speaks to balance and rest as forms of resistance for Black women, to Niki, a nonbinary Iranian American activist for Palestinian rights, Jackson’s subjects reflect the layered realities of contemporary life.
Across the series, Jackson constructs a “geography of belonging” a portrait of Washington, D.C. outside political caricature. Her paintings honor the city’s evolving cultural landscape, from Anacostia roots to immigrant neighborhoods to artist communities. They document shifting histories while preserving emotional landscapes, cultural memory, and the texture of relationship.
What sets Jackson’s work apart is the depth of connection behind many portraits. Longstanding friendships, such as her 14-year relationship with Michaelanne from Anacostia, generate portraits filled with authenticity and lived knowledge. Her choice to paint artists including Lew, Roxxy, Paulino, Var, and Niki reflects her investment in creative communities and mutual recognition across marginalized groups.
Through what she calls an “ethics of witnessing,” Jackson looks closely at those whom society often overlooks. Her portraits capture not just appearance but the social forces, personal stakes, and global contexts shaping her subjects’ lives from refugee experiences and anti-Zionist identity to queer activism and Indigenous heritage.
Together, the works in Faces of America form a living archive of this moment in American history. As they age, these portraits will stand as documents of how people navigated identity, belonging, and political change offering future viewers an intimate record of contemporary American life.
ABOUT THE ARTIST
Selena Noir Jackson is a Washington, D.C. born fine artist whose practice centers portraiture, figuration, and the complex, intersecting layers of identity in contemporary America. Working primarily in oil paint, Noir blends classical technique with a deeply research-driven, community-rooted approach, resulting in portraits that are both intimate and expansive. Noir’s work is grounded in close attention, lived relationships, and the ethical responsibility of witnessing others with care.
Shaped by her/ their upbringing in the nation’s capital, Noir’s artistry is inseparable from the cultural, political, and ancestral landscapes of D.C. A child of the city, Noir has long been attentive to the ways communities survive, adapt, and express themselves within shifting social conditions. This sensitivity informs Noir’s portrait practice, which refuses reduction, stereotype, or aesthetic flattening. Instead, Noir seeks to honor the multiplicity inherent in every human being. Their sitters are presented not as symbols but as individuals whose stories carry weight, stories often overlooked, misrepresented, or erased.
Noir’s body of work is deeply informed by themes of race, beauty, lineage, belonging, and cultural memory. Their investigations frequently move between personal narrative and broader systemic concerns, linking the intimate to the historical. Likewise, their engagement with ancestral mapping and global diasporic narratives reflects a commitment to understanding identity as both lived and inherited.
Noir has built a practice rooted in community connection, representation, and cultural stewardship. She/They are a Resident Artist at Red Dirt Studio, part of the Gateway Arts District, and a recipient of the 2024–2025 DC Arts and Humanities Commission’s Artist Humanities Fellowship Program, which has supported research into portraiture as a living archive. Their work has been included in private collections, including The Fonb Collection, and continues to grow through commissions, community partnerships, and collaborations with fellow artists and organizers.
In all aspects of their work painting, research, and community engagement Noir is committed to creating images that honor the fullness of human experience. Their artistry insists on visibility, dignifies complexity, and asserts that every story deserves to be witnessed with care.
Bud ‘n’ Bloom: Drop-in Figure Drawing at Chillville Wellness
Bud ‘N’ Bloom
Unlock Your Creative Potential at the Drop-In Figure Workshop
Washington, D.C. – Calling all art enthusiasts! Discover the joy of figure drawing at our upcoming Drop-In Figure Workshop “Bud ‘n’ Bloom”, hosted by Selena “Noir” Jaquesun Jackson at Chillville Wellness. Whether you're a seasoned artist or just starting out, this workshop promises to ignite your creativity in a relaxed and supportive environment.
Event Details:
What: Drop-In Figure Workshop
When: Friday, July 12, 2024, 6-8:30pm
Where: Chillville Wellness, 2113 Rhode Island Ave NE, Washington, DC 20018
Cost: $20 per person
Payments can be accepted in Cash, Venmo, Cash App, or Cash on the day of the event.
Supplies Provided: Some supplies will be available, including paper and basic drawing materials.
This workshop is designed for participants of all skill levels. It’s a perfect opportunity to hone your figure drawing skills or try something new in a welcoming setting. Our experienced instructors will guide you through the session, offering tips and techniques to enhance your artwork.
Take advantage of this chance to explore the beauty of figure drawing and meet fellow art enthusiasts. Space is limited, so early registration is encouraged.
To reserve your spot or for more information, please contact Noir at Selenoirstudios@gmail.com or visit SelenoirStudios.com
Join us for an inspiring and creative experience at the Drop-In Figure Workshop. Let your imagination flow and your artistic talents shine!
Chillville Wellness is committed to fostering creativity and community through art. We look forward to seeing you there!
About SelenoirStudios: Selena “Noir” Jaquesun Jackson is an Artist from Washington D.C. who believes in art and accessibility in all mediums and education.
For media inquiries or interviews, please contact Selena “Noir” Jaquesun Jackson, Selenoirstudios@gmail.com
Seleniorstudios.com
OPEN CALL: Divine Woman
PROSPECTUS AND CALL FOR ENTRY
Call Type: Exhibition
Eligibility: Regional
Entry Deadline: January 3rd, 2024
States: Maryland, Virginia, District of Columbia
OVERVIEW
The Joan Hisaoka Healing Arts Gallery invites artists working in the Washington Metropolitan Area to submit work of any crafting medium to our in-house and partnered gallery spaces for the exhibition “Temple” which will be opening on February 23rd, 2023
This exhibition is a collaboration with the photographer Reginald Cunningham (aka Reggie Noble) as he explores and celebrates the contemporary black woman. The JHHA Gallery is looking for BIPOC craftsmen and makers who identify as women to contribute to the exhibition art that highlights the shared and individual experiences as a woman.
Through the expression of these shared experiences, many of us hold on to the objects and speak life into them through these experiences. The goal of this exhibition is to personify the multifaceted Black woman and the spaces they may take up. Objects such as combs, jewelry, mirrors, and so on and so forth share so much about the person who used and/or made hold so much of their spirit. These objects will be exhibited in conjunction with Cunningham’s photographic works throughout the gallery.
Please read the details as follows:
ABOUT THE ARTIST:
Reginald Cunningham (aka Reggie Noble) is the creator of the "Pure Black" brand. He is an influencer, creative, entrepreneur, and photographer whose work focuses on urban style and portraiture.
Reggie Cunningham hails from St. Louis, MO, but currently lives in the DC area. His passion for photography was instilled by his mother, a photographer for 30 years. His style is edgy and intimate, often forgoing smoothing and airbrushing in favor of sharper and more realistic photos. Reggie likes using his camera to show his clients themselves through another's eyes, and is known for making even the most anxious feel comfortable at the end of his lens.
Reginald attended Lindenwood University, and received a Bachelor's degree in Journalism and dual Master's degrees in Digital & Multimedia Design, and Promotional Communications. Reginald's work has been featured in international publications like Huffington Post, Essence, Ebony, Take Part, The Final Call, The Washington Post, and Buzzfeed.
IMPORTANT TIMELINE DATES:
Exhibition at The Joan Hisaoka Healing Arts Gallery: Friday, February 23rd- Sunday, April 28th 2024
Public Reception: Evening, Friday, February 23rd 2024
Art Drop-Off Deadline: Saturday, February 17th, 2024
Notification of Acceptance: On or before Friday, January 12th, 2024 via email.
In-person Drop Off at JHHA Gallery: Flexible drop off dates and times can be arranged with Gallery Manager between February 1st and 17th. You will be contacted to arrange a time.
Shipped Artwork: The address for shipped artwork is: 1632 U St. NW Washington, DC 20009. Signature upon delivery is required as packages can not be left at the gallery.
Shipped artwork must be received by the Gallery no later than February 16th, 2024
Please read the details as follows:
DEADLINE FOR SUBMISSIONS IS WEDNESDAY JANUARY 3RD AT 11:59PM EST
THE JHHA Gallery MISSION STATEMENT
Art has the rare ability to mend social, psychological, and physical ills by building community, inspiring change, and celebrating life. Founded in 2008, the Joan Hisaoka Healing Arts Gallery at Smith Center for Healing and the Arts, is a nonprofit arts space in Washington, DC. The gallery is dedicated to exhibiting fine art that explores the innate connection between healing and creativity. Through a rotating exhibition schedule, the gallery features contemporary artists that address a diversity of significant themes, including spirituality, social change, multiculturalism, health, environmentalism, and community.
DIMENSIONS OF GALLERIES:
A floor plan can be provided upon request
REQUIREMENTS
Eligibility: Any BIPOC artist, who identifies as woman and/or AFAB, or is at least 18 years or older may participate to the extent that their participation is allowed by law.
3-D MEDIA GENERAL REQUIREMENTS
Ceramics:
✔Original functional and/or non-functional works created by the artist from clay, porcelain, stoneware, and/or earthenware.
✘ No factory-produced work, no RAM pressed work allowed. Clay work from commercial molds is prohibited. Painted commercial slip-cast work is prohibited.
Fiber: Non wearable & wearables
✔Works created from fibers, including basketry, weaving, papermaking, leather, and fabric. ✘ No mass or factory-produced work is allowed regardless of additional modification or enhancement by the artist.
Glass:
✔Work that has been hand-crafted by the artist by glass blowing, fusing, casting or kiln forming. ✘ No pre-manufactured items, regardless of additional modification or enhancement by artist, are permitted.
Jewelry:
✔All jewelry must be designed and made by the artist. This can include work that is primarily made from any metals, gems, or stones, precious metal clay (must be labeled as such), flameworked beads, clay, wood, fiber, etc, that is artist made.
✘ Any jewelry where the majority of the components are purchased or not made directly by the participating aritist.No commercial casts or molds are allowed. Work which has been designed by the artist, but with no subsequent hands-on work by the artist is prohibited. No more than 15% of a piece may consist of commercial findings. Not acceptable are commercially purchased components (beads, glass, gems, pearls, metal, other components not made by the artist)that are
strung or assembled and/or twisted on wire, with no substantial original work done by the artist. PMC/ precious metal clay jewelers must label their work as such.
Metalworks:
✔:Original work that is created through the forging, twisting, and fabricating of various metals. ✘: Sculpture and jewelry should not be put in this category. Production work is allowed only on a very limited basis.
Wood
✔Any functional or non-functional work that is crafted by the artist primarily from wood.
✘ Painted and/or wood assemblages where the artist does not make the primary piece. This work should be entered in 3-d mixed media.
Sculpture
✔Three-dimensional works incorporating any material that are carved, modeled, constructed or cast.
✘ If recycled materials are used they must be altered or used in a way that is different from their
original purpose.
3-D Mixed Media
✔Three-dimensional works incorporating multiple materials.
✘ If recycled materials are used they must be altered or used in a way that is different from their
original purpose.
HOW TO SUBMIT:
Send an email to Gallerymanager@smithcenter.org with the following information:
Subject line: Call for artist submission
To be included in the email: Artist’s name, address, email address, and phone number. Attach images of up to four (4) artworks with the title, medium, size, and price of each piece if you intend to sell. You may include images within the email body, or attach a zip file, portfolio, etc. You may add a brief statement about the work, to be included on the wall cards. Watch for a response that your entry has been received.
Global Youth Matters- Selena Jackson
Hosted by Hanah Salah
Thank you Hannah Salah for interviewing me on their podcast “Global Youth Matters”. Here is a little bit more about the host and their mission to highlight young adults who defy the odds:
This podcast is dedicated to sharing the stories of youth around the world that are thriving despite difficult life situations. Today many young people do not know their own power and feel like victims of their circumstances. This podcast will inspire young people to discover that they matter, they can come to know their greatness and they can make a difference.
Host, Hana Salah, is passionate about empowering youth to raise their voices and tell their stories. She has over 20 years’ experience working as a Social Development Consultant at the World Bank on ensuring the voices of marginalized groups, including youth, in development projects.
Tune into my episode as I discuss my views on art as a form of activism and creating inclusive spaces within art education. Listen to my episode on these streaming services:
Apple Podcasts Google Podcasts Amazon Music Spotify iHeartRadio
“HerStory”: Girls Who Paint Curator’s Note
It all begins with an idea.
Winston Churchill once said, “History is written by victors”. Today our “victors” are not only those who have won great wars and battles, but those who held privilege in our society. Art history does not exist in a vacuum of romanticized liberalism, expression, and inclusivity; it has been afflicted with classism, racism, and sexism. Our great masters all look the same: white, rich, and male. Thanks to the “public service messages”by the Guerilla Girls, many of the voices that have been ignored throughout art history have now gained their voices. From Artemisia Gentileschi, Ana Mendieta, Frida Khalo, Alma Thomas, and many more trailblazers, we celebrate these women and their contributions to art and culture. We celebrate the voices of those as we discuss the male gaze, deconstructing patriarchy, finding autonomy, and finding beauty through their eyes.
The 1971 essay, “Why Have There Been No Great Women Artists?” by Linda Nochlin, spearheaded the recognition of great women in art history. The issue was that they were historically invisible and disproportionately underrepresented due to systematic gatekeeping in art education, opportunities, and patronage.
In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may—and does—prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones. In revealing the failure of much academic art history, and a great deal of history in general, to take account of the unacknowledged value system, the very presence of an intruding subject in historical investigation, the feminist critique at the same time lays bare its conceptual smugness, its meta-historical naïveté. At a moment when all disciplines are becoming more self-conscious, more aware of the nature of their presuppositions as exhibited in the very languages and structures of the various fields of scholarship, such uncritical acceptance of “what is” as “natural” may be intellectually fatal. -Lina Nochlin (1971)
There were no art schools readily accessible for women, but only a few private institutions that only wealthy class women were able to afford. Within these institutions, education was limited due to grounds of decency. Against all odds, women became professional artists living in a world dominated by customs and laws designed to keep them in their place.
Women artists working prior to the 1970s Feminist Movement, have been broadening the possibilities of art through experimentation with materials to express their narratives; their work challenged our understanding of gender and identity. Alas, gender discrimination within the arts continues to plague us as we now have more clarity of the glass ceiling women artists face. In a 2018 study, out of 18 major U.S. art museums found their collections are 87% male and 85% white (Topaz et al, 2019); and women in the arts are earning $20,000 less than their male counterparts per year. (Lindemann et al, 2016)In spite of all things that hinder women artists, whether it be wealth disparities, gender discrimation, or racial intolerance, they persevere for their stories to be heard. We celebrate them as they discuss motherhood, contemplate identity, asstering their bodily autonomy, and the innocence of girlhood. Let’s continue the efforts that many organizations, galleries, scholars, and institutions have contributed to the advancement and visibility of women artists. Let’s continue to share her stories.
Work Cited
Chapman, Caroline. 2018. Review of The Female Gaze Made Flesh. History Today 5, no. 68 (May): 65–77.
“Get the Facts about Women in the Arts.” 2019. NMWA. October 22, 2019. https://nmwa.org/support/advocacy/get-facts/.
Kaplan, Isaac. 2016. “Nearly $20,000 Wage Gap between Men and Women Working in the Arts, Study Finds.” Artsy. November 21, 2016. https://www.artsy.net/article/artsy-editorial-new-study-finds-women-in-arts-make-almost-20-000-less-than-men.
Lindemann, Danielle J., Carly A. Rush, and Steven J. Tepper. 2016. “An Asymmetrical Portrait: Exploring Gendered Income Inequality in the Arts.” Social Currents 3 (4): 332–48. https://doi.org/10.1177/2329496516636399.
Nochlin, Linda. 2015. “From 1971: Why Have There Been No Great Women Artists?” Artnews.com. May 30, 2015. https://www.artnews.com/art-news/retrospective/why-have-there-been-no-great-women-artists-4201/.