Howl-O-Ween Happenings: Ari Voxx
Ari Voxx will channel dark wave goddess Siouxsie Sioux for Halloween at DC9; Credit: JoJo Rose/NXNES Produtions

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Saturday: Howl-o-ween at the Hirshhorn

Hirshhorn Howl-O-Ween; courtesy of Bowie Shoots for the Hirshhorn

As you get ready for Halloween, the Hirshhorn wants to make sure you’re not forgetting about your furry friends. Hirshhorn Howl-O-Ween returns this weekend with a parade and costume contest for art and culture-loving pups. Past contestants have included beagles dressed as Yayoi Kusama-inspired pumpkins, a dachshund dressed as a Squid Game contestant, and a pit bull terrier dressed as a rainbow. There’s a reason to go all out—the Hirshhorn will be awarding winners in three categories: popular choice, dynamic duo, and art unleashed. The goal is to create an event that is friendly for all ages, so “silly” costumes are encouraged instead of “scary” pup attire. Once dogs have rocked their costumes throughout the Hirshhorn Sculpture Garden, they’ll have an opportunity to make a paw portrait with peanut butter courtesy of pet care specialist District Dogs. Bowie Shoots, a photography firm specializing in pet and family portraits, will be capturing the canine celebrations. And the Hirshhorn will also have plenty of festive fun for two-legged guests! The museum’s educators will have art activities including “Scary Suspended Sculptures,” which is inspired by “Vertiginous Detour,” a 1966 artwork by Eva Hesse that is currently on display. There will also be coffee, puppuccinos, mimosas, and brunch snacks for pups and humans alike. Howl-O-Ween benefits the museum’s education programs such as Hirshhorn Kids and Artlab, so whether you’re the ultimate Halloween lover or just want to dress up for a good cause, the event promises to delight. Howl-O-Ween runs from 10 to 11:30 a.m. at Hirshhorn Museum and Sculpture Garden, Independence Avenue and 7th Street SW. (Registration closes on Oct. 28). $25–$50. —Sarah Smith

Saturday: Julie Wolfe’s Opposing Forces at Hemphill Artworks

 “Beyond Shape” by Julie Wolfe

In Julie Wolfe’s exhibition at Hemphill Artworks, the drawings, paintings, and prints echo a wide range of 20th-century art. “Frontispiece 1,” a gouache on a found book page, harnesses the colors and forms of suprematist painting, while the acrylic-on-wood “Opposing Forces: Before Shape” suggests a multicolored TV test pattern, filtered through Jasper Johns target paintings and 1960s op art. Wolfe’s choice of felt as the medium for a series of acrylic inkblot paintings calls to mind the material closely associated with Joseph Beuys. A few of the works by Wolfe, a D.C.-based artist, merit special attention. A pair of pencil-based pieces, one small and one large, feature freehand, organic curlicues in white against a blueprint-toned background; they call to mind the mesmerizing, painstaking hand-drawn lines in the work of Linn Meyers. Monumental at 89 x 126 inches, “Eta Carinae: Divinatory Claims” is a print that features nebulous cloud formation in shades of pink and gray, shoehorned into a semblance of order through the imposition of horizontal and vertical symmetry. “Frontispiece 5,” another work on a found book page, pairs a wide variety of pastel-like color squares with moods, ranging from “high spirituality” (pale blue) and “pride” (yellow green) to “pure affection” (salmon) and “anger” (maroon). But Wolfe’s most impressive work isn’t a painting, a drawing, or a print—it’s an 11-story cylindrical, multicolored tower of jars, filled with pigments, decaying vegetation, and polluted liquids. The work, part of a years-long series of sculptures by Wolfe, catches the sunlight by the gallery’s window, offering an ambivalent mix of contamination and beauty. Opposing Forces runs through Oct. 29 at Hemphill Artworks, 434 K St. NW. Tuesday through Saturday, noon to 5 p.m. Free. —Louis Jacobson

Sunday: Mark Power Retrospective at Photoworks

Mark Power; courtesy of Photoworks

It’s been about two years since Mark Power died. Called “the father of Washington photography,” Power, along with Frank DiPerna and Joe Cameron, built the photography program at the Corcoran College of Art and Design; through that and other artistic venues, Power influenced multiple generations of D.C.-area photographers, from Colby Caldwell to Chan Chao. Now, Photoworks is mounting a memorial exhibition that features almost three dozen images by the artist. If you never knew Power—and I didn’t—the exhibit will share some of his intimate works, but it won’t provide much background about his life or career. This is a shortcoming when it comes to works like those from his “Rita Hayworth series,” which seem to recreate famous scenes from the actor’s movies, but which realistically demand a bit more backstory for full understanding. (In reality, the series consists of photographs of family and friends taken on his family farm, paired with small passages of an imagined autobiography of the actor.) Several images are compelling in isolation, though, even without backstory. In one, a picnic blanket strewn across a patch of grass becomes a pleasingly ruffled quadrilateral; in a geometrically pleasing, high-contrast horizontal image, a boy stands with a bicycle against a wall. Two of his finest images depict trees, including one in which Power’s wife, Virginia, stands under a catalpa tree, a mournful figure overshadowed by delicate branches, printed by the photographer in timeless tones of creamy sepia. The retrospective runs through Nov. 13 at Photoworks, 7300 MacArthur Blvd., Glen Echo. Saturday 1 to 4 p.m., Sunday 1 to 7 p.m. Free. Louis Jacobson

Monday: Siouxsie & The Cure: A Halloween Tribute Show to Post-Punk Icons at DC9

“All the people seem to stop and stare. They say, ‘Why are you dressed like it’s Halloween?’” When Ministry released the song “Halloween,” they created the de facto goth anthem about youthful alienation, macabre aesthetics, and the hypocrisy of the masses. And they were in good company, singing about a lively post-punk scene created by the likes of Siouxsie and the Banshees, Bauhaus, The Cure, and Joy Division—romantic lyrics, a fascination with darkness, and a general malaise with the world today. Return to the height of gothic rock and luxuriate in the presence of fellow ghouls and vampires while enjoying covers of post-punk icons The Cure and Siouxsie and the Banshees at DC9 this Halloween. Ari Voxx will channel dark wave goddess Siouxsie Sioux, singing such classics as “Spellbound,” “Cities in Dust,” “Hong Kong Garden,” and “Kiss Them for Me.” A 2022 Wammie finalist, Voxx can do it all, from neo-jazz to ’80s Cocteau Twins-influenced new wave and dream pop, with her soaring but melancholic voice. Seattle cover band the Love Cats brings the Tim Burton-hairdos, black blouses, and smeared red lipstick of everyone’s favorite boys who cry. Fully embodying the look and sounds of Robert Smith and company, the Love Cats will play favorite hits such as “Friday I’m in Love,” “Close to Me,” “Love Cats,” and many more dreamy, doomy songs perfect for making out in a graveyard. Yes, Halloween just happens to be the perfect day to don all black but embracing your inner goth whenever the darkness calls you should be an everyday event, “’cause Halloween is every day.” The Halloween Tribute Show to Post-Punk Icons starts at 7 p.m. on Oct. 31 at DC9, 1940 9th St. NW. $10. —Colleen Kennedy

Monday: Squirrel Nut Zippers at the Birchmere

Squirrel Nut Zippers; Credit: Gregory Nolan

The first thing to know about the Squirrel Nut Zippers circa 2022 is that only one band member remains from the days of their greatest fame, the swing-revival era when they produced such albums as Hot (1996) and Perennial Favorites (1998) and became something of a staple on alt-rock radio. The second thing to know is not to worry about the turnover. The remaining member is Mississippi native Jimbo Mathus, the philosophy student, barge hand, dishwasher, and musical-history autodidact who helped found the band in Chapel Hill, North Carolina, offering vocals and stringed accompaniment. The Zippers scattered in the early 2000s, but around the 20th anniversary of the group’s biggest hit, the rollicking afterlife exploration “Hell,” Mathus revived the band with a focus on New Orleans music, producing the albums Beasts of Burgundy (2018) and Lost Songs Of Doc Souchon (2020). The through line from early to late Zippers is solid: A reverence for overlooked roots stylings and a passion for eclecticism. The most recent album invokes Souchon, a little-known but real New Orleans figure who both performed and preserved the city’s music; Souchon might as well be an alter ego for Mathus, who contributed three stylistically compatible new songs to a core of seven covers on the album, which include obscurities like the hot jazz “Animule Ball,” once recorded by Jelly Roll Morton; the klezmer number “Purim Nigrum”; the Rev. Fred Lane novelty, “I Talk To My Haircut”; and the reworked standards “Can’t Take My Eyes Off You” and “Happy Days Are Here Again.” The album closes with a version of “Summer Longings,” penned by Stephen Foster, who, early Zippers aficionados will recall, is the protagonist of the band’s ebullient romp “Ghost of Stephen Foster,” which was turned into a brilliant 1930s-style animated video by Simpsons veterans Matthew Nastuk and Raymond S. Persi, in which a hapless young couple endures increasingly surrealistic travails in a creepy hotel. Sounds like the perfect song for the Zippers to resurrect during a Halloween show. Squirrel Nut Zippers play at 7:30 p.m. on Oct. 31, at the Birchmere, 3701 Mount Vernon Ave., Alexandria. $45. —Louis Jacobson