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Wednesday, October 24, 2012
Opportunity for Artists
Monday, October 22, 2012
Postcards from the Edge
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SAVE THE DATE
CALL FOR ARTISTS
MARK YOUR CALENDARS:
The 15th Annual Postcards from the Edge
A benefit for Visual AIDS
January 4-6, 2013
Hosted by Sikkema Jenkins & Co.
PREVIEW PARTY: Friday, January 4, 2013 from 6:00 - 8:00 PM
The only opportunity to see the entire exhibition. No sales. $85 admission.
BENEFIT SALE: $85 each.
Saturday, January 5, 2013 from 10:00 AM - 6:00 PM (*Buy four and get a bonus fifth)
Sunday, January 6, 2013 from 12:00 AM - 4:00 PM (*Buy two and get a bonus third)
Over 1500 anonymously displayed postcard-sized masterpieces.
Postcards From the Edge is a Visual AIDS benefit exhibition and sale of original, postcard-sized artworks by established and emerging artists. This year, the event is even more special because it inaugurates the 25th Anniversary year. All artwork is exhibited anonymously. While buyers receive a list of all participating artists, they don't know who created which piece until after purchase. With the playing field leveled, all participants can take home a piece by a famous artist, or someone who is just making their debut. Nonetheless, collectors walk away with a piece of art they love, knowing that the money raised will support HIV prevention and AIDS awareness. Click here for more info.
CALL TO ARTISTS:
Visual AIDS invites artists to donate a 4" x 6" original work on paper for our Postcards From the Edge exhibition and benefit sale. Painting, drawing, photography, printmaking, and mixed media are all welcome. Artists must be 18 years or older to participate. One entry per artist.
Click here for information on how you can participate.
DEADLINE: Postmark Friday, December 7, 2012
Questions? Visit FAQ page here or email info@visualAIDS.org
Sunday, October 21, 2012
Manon Cleary finally in the SAAM
Recently the Smithsonian American Art Museum accepted two of Manon Cleary's epic Men in Plastic Bags series graphite drawings for its permanent collection.
This is great and most richly deserved for an artist whose impact, both personal and artistic, upon the Greater DC area art scene, as well as the national art scene in some sectors, more than deserve her placement among her peers at the SAAM.
And even after her passing Manon continues to have an impact upon the DMV art scene because this acquisition should now bring to the forefront the fact that the SAAM, much like all the other local DMV museums has a chronic problem with looking in its own backyard for worthy artists.
I once noted on NPR radio that our "local" museums, because they tend to think of themselves as "national" museums, would rather have its curatorial staff take a cab to Dulles for a flight to Berlin to then visit artists' studios to look at the work of emerging artists in Berlin, than to take a cab to Georgetown, or Kalorama, or Alexandria, or Mt Rainier or wherever in the DMV to visit some local studios.
Manon Cleary should have been in the collection of the SAAM decades ago, and mutliple generations of SAAM curators have perpetuated and continue to cement a gargantuan offense against their own neighborhood by ignoring generation after generation of DMV artists, DMV galleries and the DMV visual art scene in general.
For the Hirshhorn: the same disservice applies; shame on your curators as well.
Thank you Manoncita.
This is great and most richly deserved for an artist whose impact, both personal and artistic, upon the Greater DC area art scene, as well as the national art scene in some sectors, more than deserve her placement among her peers at the SAAM.
And even after her passing Manon continues to have an impact upon the DMV art scene because this acquisition should now bring to the forefront the fact that the SAAM, much like all the other local DMV museums has a chronic problem with looking in its own backyard for worthy artists.
I once noted on NPR radio that our "local" museums, because they tend to think of themselves as "national" museums, would rather have its curatorial staff take a cab to Dulles for a flight to Berlin to then visit artists' studios to look at the work of emerging artists in Berlin, than to take a cab to Georgetown, or Kalorama, or Alexandria, or Mt Rainier or wherever in the DMV to visit some local studios.
Manon Cleary should have been in the collection of the SAAM decades ago, and mutliple generations of SAAM curators have perpetuated and continue to cement a gargantuan offense against their own neighborhood by ignoring generation after generation of DMV artists, DMV galleries and the DMV visual art scene in general.
For the Hirshhorn: the same disservice applies; shame on your curators as well.
Thank you Manoncita.
Courage Unmasked Pics
Some pics from the recent Courage Unmasked event at American University's Katzen Museum.
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| Bridget Lambert, Elyse Harrison and The Lenster |
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| Bill Harris and yours truly |
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| Jack Rasmussen and I |
Jarvis Grant on (e)merge
In case you missed it, Jarvis Grant has a really interesting article/review on the impact of Photoshop on some of the work on exhibit at the recently concluded (e)merge art fair.
Check it out here.
Check it out here.
MacKenzie at the AIA
“ Helter ~ Shelter “
An exploration into the Organization of Temporary Communities
1735 New York Avenue WDC 20006
Opening Reception: Thursday, November 1st 5:30 - 8:30 pm
Exhibition continues through January 2013
~ helter-skelter: in a haphazard manner, chaotic, lacking a visible order or plan
“ Architecture is inhabited sculpture. “ - Constantin Brancusi
what “community” means once one leaves the city and its suburbs. He presents diverse examples of how people create temporary structures, both factory-built and homemade, to protect themselves from the elements, and then organize these shelters into larger communities, while projecting through design and decoration, their own individual identities and personalities. Some of these communities stand for decades, until the river floods and they are trucked away to higher ground, and others are only in existence for a long weekend.
Included in “ Helter-Shelter “ are mural-size panoramic photographs that illustrate a variety of solutions to the challenge of temporary housing in sometimes raw and hostile rural environments. Whether on wheels, floats, or skids, these tiny dwellings live lightly on the Earth, taking the “Not-So-Big-House-Movement” to the extreme, at the lowest possible cost, with minimum impact on the environment.
“Burning Man,“ an extraordinary explosion of human creativity and imagination, takes place every August in the Nevada desert and is the largest arts festival in the country. The 55,000+ inhabitants of Burning Man bring tents, domes and RVs and work together to construct the meticulously planned, pedestrian and bike-only, “Black Rock City,” which lasts exactly seven days. Participants, following Burning Man’s principle of ”Extreme Self-Reliance,“ bring all their food and water into the city with them, “Leaving No Trace“ when they depart, making Burning Man a remarkable example of sustainability, and environmentally responsible community.
Coming across hundreds of RVs with their motorcycle trailers gathered in the baking windswept California desert near the Salton Sea, at first one perceives only chaos. But look more closely: familiar patterns emerge, and again traces of an underlying organic order become apparent. However temporary, a kind of town is being built. The need for community is being expressed. Just as the wagon trains of the pioneers circled for protection, the RVs and “motor-homes “ are similarly situated, parked around a horseshoe arena and the communal picnic table, creating a central, protected “urban square” where people gather.
Another large group of Americans, from all social strata, often retired, have abandoned their permanent homes altogether, whether voluntarily or to foreclosure, and taken to the road for good. They have become migratory, like waterfowl, and follow the seasons, adapting to life in a ten-foot wide, metal-encased, pre-fab mobile world. Downsizing and concentrating their resources, some barely survive and others live much more luxuriously in their custom, marble-floored, multi-slide-out $ 400,000 motor coaches than they did before.
From the desert domes out west, and the colorful ice-house and houseboat communities in Minnesota to Airstream rallies in Florida, like-minded people gather in their temporary camps for a hundred different reasons; to escape cities & immerse themselves in nature, to share sporting and cultural interests, to escape the winter heating bills up north, or simply just to wander.
People find and unite with their respective tribes, claim a piece of ground and make it home.
The American Institute of Architects
1735 New York Avenue, NW
Washington, DC 20006
202.626.7312
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