This weekend: 2024 STORYBOX Comics Fair

DWIGHTMESS Cartooning & Comic Arts, a gallery and arts compound devoted to experimental and cutting-edge independent comics and illustration, is proud to announce the 2024 STORYBOX Comics Fair, now in its second year of convening of capital-area comic creators. Events will take place on  Saturday, June 22nd at Dwightmess, and on Sunday, June 23rd at Third Hill Brewing Co. from 12-4pm. Admission to Saturday’s event is free. 
Admission to the expo at the brewery on Sunday is $10.

The first day of events will be led by our Special Guests; DC-based artist Sierra Barnes, author of “Hans Vogel is Dead,” released by Dark Horse Comics; DC-based Dana Jeri Maier, New Yorker Shouts artist and author of “Skip to the Fun Parts: Cartoons and Complaint About the Creative Process” and Baltimore-based artist Ben Claassen III, former Washington City Paper cartoonist of the long-running comic, “Dirt Farm.”

Visitors can expect to encounter a selection of exhibitors showcasing their self-published comics, illustrations and swag, and participate in discussions and workshops surrounding the craft of making comics. Events include a show of Dana Jeri Maier’s illustration in our secret tiny gallery, an opening reception & BBQ for SWAMP MESS, the gallery’s annual DC-comics creator summer show, featuring artwork by Ben Claassen III, Andrew Cohen, Chris Combs, Liam Crooks, Brandon Geurts, Art Hondros, Marcie-Wolf Hubbard, John Kinhart, and Dale Rawlings, plus an opening reception for Halcyon Scene, our vintage boutique offering sleek 1980’s furniture and decor. (IG: @_halcyon_scene_)

Exhibitor List (Saturday 6/22): Mercedes Campos Lopez, JESSJESS PRESS, TC Pescatore, Anna Selheim.

The second day of the fair is a comics mini-expo taking place at Third Hill Brewing Co. in downtown Silver Spring. Featuring 19 DMV-region cartoonists,illustrators and makers, with book signings by our special guests and workshops led by DC-based autobio-cartoonist Athena Naylor, Washington Post comics editor Hannah Good, and Ray Orr, Former Design and Comics Editor of The Lily for the Washington Post Style Section.

Special Guests: Sierra Barnes, Ben Claassen III, Dana Jeri Maier
Exhibitor List (Sunday 6/23): All the Old Posions, Carolyn Belefski, Kat Brenowitz, Hannah Good, Hobbes Holluck, Art Hondros, Paul Hostetler, Erin Lissette, Alex Lupp, Athena Naylor, Ray Orr, Nami Oshiro, Karly Perez, Perilous Adventure Studios, Dale Rawlings, Christine Skelly, Shannon Spence.

Schedule of Programming : 



Saturday, June 22nd, 12-4pm 

DWIGHTMESS, 805 Silver Spring Ave, Silver Spring MD 20910 (closest to Fenton Street Village Garage)

Swampmess Exhibition Opening Reception/BBQ

1pm Workshop with Sierra Barnes
2pm: Comics Process Town Hall with Ben Claassen III

3pm: Book Discussion with Dana Jeri Maier

*All events are free and open to the public.

Sunday, June 23rd, 12-4pm

Third Hill Brewing Co, 8216 Georgia Ave, Silver Spring MD 20910 (closest to Bonifant-Dixon Garage)

1pm: Make a Collage Comic w/ Hannah Good and Rachel Orr

2pm: “Main Character Energy” Workshop with Athena Naylor

3pm Special Guests Book Signings

*$10 Admission.

Event Locations: DWIGHTMESS, 805 Silver Spring Ave, Silver Spring MD 20910, Third Hill Brewing Co, 8216 Georgia Ave, Silver Spring MD 20910

Public Transit Reminder: **Silver Spring Metro Station on the Red Line is currently closed for the summer as well as the Takoma, Wheaton and Glenmont Stations*

Options for getting to STORYBOX:

1) Free shuttle buses will run from Fort Totten and Glenmont Metro Stations (add 30 min to your travel time). 

2) Uber / Lyft / Taxi / Carpool! Paid Hourly Parking is available at the Fenton Street Village Garage (8110 Fenton St) or the Bonifant-Dixon Garage (1101 Bonifant St).
3) For Alternative Bus Routes, visit:

https://www.wmata.com/.../Red-Line-Summer-Construction...

Sponsored by: Third Hill Brewing Co., DWIGHTMESS, DC Conspiracy, and Peoples Book Takoma.



Shiri Achu 10th Anniversary 'InPrint' Exhibition

 

Exciting events such as a Workshop, Books Launch, Taste of Cameroon, a Fashion Show and an Auction during the 10 weeks long period. Early bird registration is Free until Sat.29th June. Thereafter it will be $10. 

Shiri will be launching a Campaign on the 30th of June to raise money toward completing a school floor in Santa, Cameroon. 45% of every entry fee or 10th Anniversary gift will be put towards this GROUNDED campaign. Also, 10% of every art sale, merchandise sale etc throughout the 10 weeks long exhibition will be put towards this campaign.

Register here.

MAP Call for Entry

 

reGENERATE
 

TIMELINE:

Submission Deadline: 
Monday, August 12, 2024 @ Midnight

Notification of Acceptance: 
Week of August 19, 2024

Artwork Drop Off: 
Tuesday, September 3 - Saturday, September 7, 2024

Exhibition on View: 
Thursday, September 12 - Saturday, November 2 , 2024

Opening Reception: 
Thursday, September 12, 2024

Exhibition Closes: 
Saturday, November 2nd, 2024

Artwork Pick Up: 
Tuesday, November 5 - Saturday, November 9

Application Form

Maryland Art Place (MAP),  in partnership with Lumina Solar, is excited to announce an open call for reGENERATE, an upcoming exhibition exploring the dynamic, controversial, and multifaceted concept of "energy." This exhibition aims to delve into the various interpretations and manifestations of energy. We are seeking artworks centric to energy (new and old) and any interpretations thereof. Artworks can be literal or abstract, but must tie-in with ideas surrounding energy and energy conservation: Key words: light, the built environment, conservation, physical energy, the sun, atmosphere, energy collection, energy sources etc...

We encourage artists to interpret this theme broadly and creatively. Submissions can explore, but are not limited to, the following aspects:

• Kinetic and potential energy
• Renewable and non-renewable energy sources
• Cosmic and universal energies
• Environmental impacts of energy production and consumption

Submission Guidelines:

• All mediums are welcome, including painting, sculpture, photography, digital art, video, and mixed media.
• Both individual and collaborative works are eligible.
• Artists may submit up to three pieces for consideration.
• Each submission must include:
• Title, medium, dimensions, and year of creation
• High-resolution images (JPEG or PNG, 300 dpi)
• An artist statement (max 500 words) explaining how the work relates to the theme of energy
• A brief artist biography (max 300 words)
• Contact information (name, email, phone number)

How to Submit:

To apply please see the following application and required attachments: Please send your application to submissions@mdartplace.org 

OR fill out the Google application HERE by MIDNIGHT on Monday, August 12, 2024. 

Workhouse Arts Foundation Appoints Keith Gordon as New President and CEO

The Workhouse Arts Foundation, Inc., which operates the Workhouse Arts Center, has appointed Keith Gordon as its new President and Chief Executive Officer, responsible for leading the Workhouse into its next phase of growth. Keith brings over 20 years of leadership experience in the non-profit and private sectors. He begins his new role on Monday, July 1, 2024.

Keith’s extensive professional background includes C-suite leadership roles, most recently serving as President and Chief Executive Officer at Fight For Children (FFC), a non-profit dedicated to improving the lives of underserved youth, and as President for the NFL Players Incorporated (NFLPI), a subsidiary of the National Football League Players Association (NFLPA), where he successfully rebuilt and repositioned both organizations to achieve significant growth.

A graduate of Arizona State University, Keith started his career in advertising in New York City before joining the National Basketball Association (NBA). At the NBA, he was instrumental in driving collaboration amongst teams, sharing best practices, refining team marketing strategies, and increasing team and league revenues.

“We are very excited to welcome Keith Gordon as our new President and CEO,” said Caroline Blanco, Chair of the Board of Directors. “With his significant experience as a leader in the non-profit sector and engaging personality, I have no doubt that Keith has what it takes to turn the potential of this wonderful organization into a reality.”

Keith's appreciation for the arts began early, influenced by his mother, an aspiring artist and later a professor of art history, and his older brother, a television and film actor in New York City.

"I’m excited to join the Workhouse at such a pivotal time,” Keith said. “The rich history of the facility, combined with the unwavering commitment from Fairfax County and a dedicated Board of Directors, has led to one of the most unique and inspiring destinations in the region. I look forward to collaborating with our talented team and the vibrant community of resident artists to bring the vision for this dynamic property to life.”

On the subject of art fairs

Multiple times over the last few years I have been discussing artists, arts organizations, art galleries, and art fairs, most recently here.

Cristina Salmastrelli, the energetic Regional Managing Director for Ramsay Fairs, pipes in to that last post with some terrific comments:

My comments, in no particular order:

I love that artists should not be required to come to an art fair if they do not want to. There are some artists that cannot stomach the fast pace of a fair or the harsh realities that comes with it. This is why artist representatives are so important, in my opinion. Visitors and potential art buyers can be quite harsh and sometimes artist cannot hear negative feedback. I never want an artist to hear negative feedback unless it’s filtered through their representation or a proper lens. In my opinion and in the most idyllic sense, the entire gallery system is there to protect the artist and their creativity from external messages. I have seen artist wilt when representing their own work and that makes me really upset, so I love the fact that the artist onsite requirement theory can be eliminated.

The formula for art fair success is an ever changing one. It more and more reminds me of early motherhood or Instagram’s algorithms every day. Once you feel like you got your system down pat, CURVEBALL STRAIGHT AHEAD! And the only way to properly prepare for this is to come in feeling strong and excited to talk to people at every opportunity. Every edition needs to be your first and there can be no assumptions that you will be as successful as your last. And with that theory, the fair experience never ends on the last day and that constant follow up and dedication to build relations with new clients, old clients and potential ones will pay off down the line.

It never hurts to take time to try and understand the different motivations when it comes to purchasing art. From there, take time to practice how to close deals based on the variety of reasons why someone buys an artwork. In the end, this exchange is about emotions and this purchase is emotive, so understanding people really helps to make your experience a successful one.

An Eulogy to a powerful woman

 Eight years ago my courageous mother died... this is my eulogy from that day:

When my father died last year, I began his eulogy by noting that another oak had fallen.

This morning, around 1:25AM, Ana Olivia Cruzata Marrero de Campello, his wife of over 60 years, and my beloved mother, passed on on the day of her 97th birthday.

If my father was an oak, then my mother was an equally strong, but also very pliable, and elegant tree.  When hurricanes attack the main lands of the world, the strong tall trees often fall, but the pliable ones, like plantain trees, always give with the wind, and survive the storms, and thrive in the drenching rains.

My mother was like a an aged plantain tree, not only immensely strong and pliable, but also giving and nurturing.

Like many Cuban women of her generation and her social-economic background, she had never worked for a living in Cuba, and yet within a few days of our arrival in New York in the 1960s, she was working long hours in a sewing factory, putting her formidable seamstress skills, honed in the social sewing and embroidery gathering of young Cuban girls, to use in the "piece work" process of the New York sewing factories.

As soon as we saved the money, one of the first things that my mother bought was an electric sewing machine - a novelty to her, as she had always used one of the those ancient Singer machines with a foot pedal.

I remember as a child in Brooklyn, that women used to bring her fabric and a page from a magazine with a woman wearing a dress. Without the benefit of a sewing pattern, my mother would whip up a copy of the dress that was more often than not probably better made than the original. As the word of her skills spread, so did her customers and soon she was making more money working at home than at the factory - but she kept both jobs.

I once noted to her that I admired the courage that it must have taken  her to leave her family and immigrate to the United States. "We didn't come here as immigrants," she corrected me. "We came as political refugees, and I initially thought that we'd be back in Cuba within a few years at the most."

When the brutal Castro dictatorship refused to loosen its stranglehold on her birth place, she became an immigrant, and from there on an American citizen from her white-streaked hair down to her heel bone (that's a Cuban saying). Like my father, she loved her adopted country with a ferocity, that I sometimes feel that only people who have been bloodied by Communism can feel for a new, free homeland.

As as I've noted before, Cubans are archaic immigrants... we love this great nation because we recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.

I remember as a teenager, once I started going out to parties and things at night on my own (around age 16 or so), that my mother would wait up for me, sitting by the third floor window of our Brooklyn apartment, where she could survey the whole neighborhood and see as far as the elevated LL subway station a few blocks away, to watch me descend the station stairs and trace my way home.

My mother was always fit and, as once described by my father, "flaca como un fusil" (as slim as a rifle). She was strong and fast. She was also quiet, but never silenced, and when needed, could and would command attention.

My mother was always well dressed and superbly coiffed. When we'd go to parties and events, women would always ask her where she'd gotten that dress! The answer was always the same: she'd made it!

At least once a week, to my father's dismay, and in spite of his demands that my mother stop it, she'd get her hair done at the nearby peluqueria (hair dresser).

My dad knew, and respected his limits with my mother. 

I remember one time that my father and I were returning from shopping at the supermarket, dragging one of those wheeled folding carts that could carry four full paper grocery bags. It had been snowing, so the Brooklyn streets were wet and muddy.

When we got to our apartment my father opened the door. He then stood there.

"Go in!" I demanded.

"We'll have to wait," he said gloomily, "Your mother mopped the floor and it's still wet." This giant, tough, street-brawling Galician then looked at me sheepishly, "I'd rather walk through a mine field than step on your mother's wet floor."

I learned a lesson there.

She used to delight in telling stories how, as a child, she would often win the horse races that kids staged around the small country towns where she was raised in Oriente province, where her father was a Mayoral.

"I almost always won," she'd say, and then would add: "Even though I was a skinny girl."

Once, in her seventies, back in the days where you could actually accompany people to the departing gates at airports, we were escorting my oldest daughter Vanessa, who had come to visit, and we were running late. As we got to the airport, we ran to the gate, and to everyone's surprise, Abuela got there first. I still remember how delighted my daughter was that her grandmother could still run like a gazelle.

When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, and thus my parents decided to migrate south to Florida and moved to Miami... just to be close to me.

They spent the next 40 years in the same apartment while I was stationed all over the world.

The mostly Cuban-American families that lived over the years in that apartment loved my mother, and would always tell me stories about my mother, ever the nurturer, bringing them food when she knew that they were going over tough times, or riding the buses with them, just to show them the routes.

This week, when I arrived in Miami, already somewhat knowing that this was approaching the end, I saw her with tubes coming out of her mouth and her eyes closed. When I spoke to her she opened her eyes, and in spite of the visuals that my eyes were seeing she somehow still managed to look strong. 

I showed her photos and movies of her grand children, and talked to her for a long time.

I thanked her for having the courage to leave her motherland and afford me the opportunity to grow as an American.

When she was being extubated, a young woman came into the room with a guitar and played and sang the haunting free prose of Guajira Guantanamera (The peasant girl from Guantanamo); a most fitting song, since my mother was from Guantanamo, and she came from strong Cuban peasant stock.

"Guajira pero fina (A peasant, but a very refined woman)", noted a neighbor and loving caretaker. 

The song, which can start with just about any prose, started with the Jose Marti poem:

 Yo quiero, cuando me muera, sin patria, pero sin amo, tener en mi tumba un ramo de flores y una bandera

I want to, when I die, without my motherland, but without a master, to have on my tomb a bunch of flowers and a flag.

She died without a master, a strong and pliable woman who not only gave me the gift of life, but also the gift of freedom.

And as my mother died in her sleep in the early hours of the morning, in the capital city of the bitter Cuban Diaspora, all that I could gather to say to her was mostly the same that I said to my father when he passed last year: "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Mami... Un Abrazo Fuerte! Thank you for your gifts to me and my children, and happy birthday in Heaven!