At the Hirshhorn — Damage Control.

Teaching moments

Earlier this week Jacob and I went to D.C. for a few days to visit some museums and—more specifically—to see the Hirshhorn’s Damage Control exhibit. We weren’t disappointed. Damage Control is a power-statement; its context is instantly apparent; it takes a long, long time to fully comprehend. Photography wasn’t allowed on the DC exhibit floor—stay tuned for more photos or a slideshow. It could happen.

About “Damage Control”
On view at the Hirshhorn through May 26, “Damage Control: Art and Destruction Since 1950” offers an overview of the phenomenon of destruction in international contemporary art and culture. The exhibition includes works by artists such as Vija Celmins, Jake and Dinos Chapman, Christian Marclay, Gustav Metzger, Laurel Nakadate, Yoko Ono, Raphael Montañez Ortiz, Robert Rauschenberg, Ed Ruscha and Andy Warhol in a range of mediums, from painting, drawing and sculpture to video, photography and performance. The exhibition is accompanied by a fully illustrated catalogue with essays by co-curators Kerry Brougher, interim director and chief curator of the Hirshhorn, and Russell Ferguson, professor of art at UCLA, as well as art historian Dario Gamboni of the University of Geneva.

About the Hirshhorn
The Hirshhorn Museum and Sculpture Garden, the Smithsonian’s museum of international modern and contemporary art, has nearly 12,000 paintings, sculptures, photographs, mixed-media installations, works on paper and new media works in its collection. The Hirshhorn presents diverse exhibitions and offers an array of public programs that explore modern and contemporary art. Located at Independence Avenue and Seventh Street S.W., the museum is open daily from 10 a.m. to 5:30 p.m. (closed Dec. 25). Admission to the galleries and special programs is free. For more information about exhibitions and events, visit Follow the Hirshhorn on Facebook, on Twitter at and on Tumblr Or sign up for the museum’s eBlasts at

By Stephen Brockelman

As a Sr. Writer at T. Rowe Price, I work with a group of the best copywriters around. We belong to the broader creative team within Enterprise Creative, a part of Corporate Marketing Services. _____________________________________________ A long and winding road: My path to T. Rowe Price was more twisted than Fidelity’s green line. With scholarship in hand, I left Kansas at 18 to study theatre in New York. When my soap opera paychecks stopped coming from CBS and started coming from the show’s sponsor, Proctor & Gamble, I discovered the power of advertising and switched careers. Over the years I’ve owned an ad agency in San Francisco; worked for Norman Lear on All in the Family, Good Times, Sanford and Son, and the rest of his hit shows; and as a member of Directors Guild of America, I directed Desi Arnaz in his last television appearance— we remained friends until his death. In 1988 I began freelancing full time didn’t look back. In January 2012 my rep at Boss Group called and said, “I know you don’t want to commute and writing for the financial industry isn’t high on your wish list, but I have a gig with T. Rowe Price in Owings Mills…” I was a contractor for eight months, drank the corporate Kool-Aid, became a TRP associate that August, and today I find myself smiling more often than not.

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