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| “At the Altar of Modern Art" by F. Lennox Campello 2016. Charcoal, Conte and Embedded Electronics. 36 X 18 |
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| “At the Altar of Modern Art" by F. Lennox Campello 2016. Charcoal, Conte and Embedded Electronics. 36 X 18 |
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| “At the Altar of Modern Art" by F. Lennox Campello 2016. Charcoal, Conte and Embedded Electronics. 36 X 18 |
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| “At the Altar of Modern Art" by F. Lennox Campello 2016. Charcoal, Conte and Embedded Electronics. 36 X 18 |
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| “At the Altar of Modern Art" by F. Lennox Campello 2016. Charcoal, Conte and Embedded Electronics. 36 X 18 |
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| The Batman Naked and The Boy Wonder Naked - unfinished - by F. Lennox Campello, c. 2016 |
Janis is clearly one of the DMV's blue chip artists, and in the many years of my seeing thousands of artists' works at art fairs all over the planet, I've yet to see anyone whose work comes close to Janis' enviably distinct approach to a very difficult technique.
Born in Chicago, IL, after a 20 year career as an architect in the United States and Australia, Michael Janis returned to the US with a focus on working with glass. In 2005, Janis became a Co-Director of the Washington Glass School and Studio. Awarded a Fulbright Scholarship in 2012, Janis went to England's University of Sunderland and taught at the UK's National Glass Centre where he became an Artist-in-Residence at the Institute for International Research in Glass (IIRG). The James Renwick Alliance (JRA) named him as their Distinguished Glass Artist in 2014, and he presented and lectured about his work at the Smithsonian American Art Museum. The DC Commission on the Arts and Humanities (DCCAH) recently advised that they had selected Janis as a finalist in "Excellence in the Arts" category of the 31st Annual Mayor’s Arts Award . |
Kate McGraw on How to Run for Political Office
Thursday, September 22, 6:30 p.m.
Artist and former DC resident Kate McGraw is running as an Independent for the Pennsylvania House of Representatives. Come learn what Kate has picked up along the way, how being an artist has informed her political thinking, and how you too might start your own campaign.
Ellen Lupton on Campaign Identities, with Christian Dutilh of Composite Co.
Wednesday, October 26, 6:30 p.m.
Curator of contemporary design at Cooper-Hewitt, National Design Museum in New York City, and director of the Graphic Design MFA program at Maryland Institute College of Art (MICA) in Baltimore, Ellen Lupton is one of the pre-eminent design curators and editors in the U.S. Join us for an evening on the history of campaign identity design. She will be joined by Christian Dutilh, co-designer of the SHELDON FOR DC platform.
Ellen Lupton is 2007 recipient of the AIGA Gold Medal, one of the highest honors given to a graphic designer or design educator in the U.S. Her publications include Thinking with Type (2004), Design Your Life: The Pleasures and Perils of Everyday Things (2009), and Graphic Design Thinking (2011).
Christian Dutilh is Principal of Composite Co., a branding and design studi
o.
For more information on these events and SHELDON FOR DC, please visit
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I am also excited to announce that my new book, The Artist as Culture Producer, is now available to pre-order at a discount until October 1st (use code PRARTIST).
To support the release of the book, we are now raising money for an extensive conversation tour across America and abroad that will connect contributors of the book with other regional artists and community stakeholders.
Please support our community building efforts by donating here:
http://www.livesustain.org/donate
The cover of Australian art magazine Vault, which features a painting of a naked pregnant woman, has been censored for newsagencies, raising questions about perceptions of the female body.
The painting, titled Brood (2005-2006), is by well-known New York artist Lisa Yuskavage, whose sought-after work sparks million-dollar prices.Read the story here.
The New York Times this week quietly ended its coverage of restaurants, art galleries, theaters and other commercial and nonprofit businesses in the tri-state region, laying off dozens of longtime contributors and prompting protests from many of the institutions that will be affected. They foresee an impact not only on patronage but, in the case of the nonprofits, on their ability to raise funds to survive.The NYT is doing exactly what the Washington Post started doing over a decade ago, when the disastrous Style section period under Eugene Robinson all but destroyed the local visual arts coverage by the WaPo.
An artist’s estate is successful when it is able to keep the work alive: when subsequent generations of artists draw inspiration from it and when curators, researchers and collectors continuously find new ways to approach it. This goal is achieved when the estate initiates dialogue and exhibitions, contextualises the work, and makes it accessible to contemporary artists. Reaching it, however, requires a quantity of high-quality works as well as financial resources. Furthermore, a vast array of knowledge and skills, ranging from an art-historical understanding of the work to managerial and business know-how, are crucial to the success of this endeavour. Thus, heirs often devote a significant portion of their lives to this work.Read this fascinating advisory article here.
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| "The Last Copy of The Constitution" (detail) 19x12 inches.Charcoal on Paper. Circa 2016 |
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| "The Last Copy of The Constitution" 19x12 inches.Charcoal on Paper. Circa 2016 |
From: Ahmed (ahmed@mcgeoch.com)
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Dear members,
I am excited to officially introduce myself as your new point of contact. I've had the privilege of meeting many of you over the two and a half years I've been working at WPA, but for those of you who don't know me already, I thought I'd take a moment to say hello and tell you a little about myself.
I am a Seattle transplant who craves adventure and salty air. I first moved to the East Coast to study Environmental Policy at American University but found myself spending more and more of my time across campus in the Katzen Arts Center. It became clear to me then that I needed to be working with artists. Six years later, I'm still here because I found you - the incredible artistic community that calls this region home. I started interning at WPA in January 2014, going to music and art shows in living rooms and basements, and eventually collaborating and organizing projects of my own in my neighborhood in Bloomingdale. Nothing gives me more satisfaction than giving back to the friends and artists that inspire me.
I am thrilled to now have the opportunity to work more closely with you at WPA. Since our move, we've been restructuring our responsibilities and redefining WPA (Whole Pitted Avocados anyone?). We have so many resources to share with you: a street-front project and exhibition space, an online artist registry, and a vast network that stretches far beyond DC. WPA is increasingly becoming more artist-driven, more focused on idea generating/sharing, and more deeply engaged with the community. Together, we can take this to next level. I hope WPA will become (and continue to be) your creative haven, a space where you can expect the unexpected, take risks, get messy, and make valuable friendships.Over the next couple of months, we will be exploring how artists can use politics to advocate for change. There will be countless opportunities to participate, make a difference, and weigh in on the conversation. As an artist, this project will be all about you. So keep an eye out for more information to be announced soon.Our door is always open to you, stop by or shoot me an email anytime. I'd love to hear what you're working on, struggling with, and what you're dreaming up.
Looking forward to the road ahead!All the best,Nathalie
