In 1998, a great barn was built in Keswick, VA on the Castle Hill estate, just a stone’s throw from Charlottesville and Monticello. Architect John Rhett has turned it into The Barn at Castle Hill Cider, a two-in-one events space and traditional cidery.
The heavily disputed Georgetown University Campus Plan came to something of a climax on Thursday, January 20, when a joint meeting was held between the Georgetown, Burleith, and Foxhall Citizens Associations, the ANC 2E Commission, and GU officials.
othered by the mild pandemonium brought about by the construction on the 29th, 30th and Jefferson Street Bridges across the ...
When Chef Daniel Bruce created the Boston Wine Festival over twenty years ago, it was hardly driven by divine inspiration ...
Loudoun, VA is home to the wineries nearest the District. The wine culture is not as old as those further ...
Chris Murray, director of the Georgetown's Govinda Gallery and co-curator of the "Elvis at 21" exhibition, now at the National Portrait Gallery, talks about all things Elvis and the Washington art scene.
Tis’ the season to be fat and happy. Let’s just face it.
There are endless news articles that come ...
Georgetown's Annual Holiday Window Competition has been assembled again, and with the help of architect Christian Zapatka, The Georgetowner ...
Come to the Jackson Art Center's Open Studio on Sunday, December 5, from 12 to 5pm, to see the variety of painting styles and the abundance of talent present in many media behind the walls of the Jackson Art Center.
Walking around Cleo Braver’s backyard, looking out onto the Goldsborough Creek as hundreds of geese acclimated to their winter stead, it was easy to get lost in the crisp afternoon warmth. The East Coast and Bay area is a place of surprising beauty, even to those of us who have lived here all our lives. But it takes a certain kind of person to grow something out of that beauty. Leaving your job to start your own organic farm and promote Bay awareness and safe farming practices may not seem to be the most practical decision for most people, but for Braver, it was the only option.
To Ris Lacoste, Thanksgiving should be a simple affair. The dishes featured on her restaurant’s “To Go Sides and Pies” menu are effusive and original, yet comforting and familiar. The cuisine goes beyond unique spins on old favorites, recalling brilliant tastes or textures and producing them in an entirely new context. But Thanksgiving isn’t about reinventing the wheel, as she makes clear. To her, Thanksgiving is the raw, savory, unfettered beauty of the fall harvest and family. “I dedicate Thanksgiving dinner to my mother,” she says. “I still can’t do it like she can.”
After ongoing delays and skyrocketing leaps over the original budget by over $2.2 million, Waterfront Park is still about where it has been for the past six months: over budget and delayed. Delays were largely a result of previously undetected foundation debris associated with the former Capital Traction Company Powerhouse that was located at the spot of the park. The building was demolished in 1968.
The Key Bridge — Friday, October 19. Walking across the bridge, from the Rosslyn metro into town, five police officers were sitting on the Washington side, immediately pulling over drivers on their cell phones and issuing tickets. All the commotion was exacerbating a traffic jam on the already crowded bottleneck onto M Street, on a typically busy Friday morning. The rows of stopped vehicles and squad cars could have led you to believe there was a drug bust in place. Three blocks into town, I had already passed three other officers ticketing vehicles that had over-extended their parking privileges by the slightest infraction.
When I got to Ris, Washington chef Ris Lacoste’s lauded contribution to DC’s food culture, the restaurant was empty. It was early on a Saturday morning, and the city was just waking up. Through the windows, the expanses of barren dining tables and upturned chairs looked nearly unfamiliar from the week before, when I met Ris for the first time amidst a clattering of plates and glasses, the hum from a dozen full tables swarming around me in the bustling eatery. Now, it was lifeless and unmoving. They didn’t open for a few hours.
It is rare to find such a steady and yet exciting subject as is found in both the paintings and the person of artist David Richardson. With an astonishing discipline, he has explored and unraveled three series of paintings, any one of them strong enough to exhibit individually.