until every shape has found its city

Reston, VA: GRACE (Greater Reston Arts Center) is pleased to present until every shape has found its city with Evan Reed from September 29 through November 12, 2011. The exhibition explores the intersection of art, literature, and architecture through complex sculptures and drawings that transcend literal interpretations.

Using commonplace materials – lumber, plaster, wall board, and nails – Evan Reed creates fantastical sculptures that reference reality but travel beyond into the realm of imagination. His “impossible buildings” with skewed framing, walled-off rooms, and disappearing passages invite the viewer to slip through reality and enter an alternative space where architectural forms become departure points for dreams.

Reed’s diverse influences range from poetry and literature to sacred geometry and visionary architecture. His title, until every shape has found its city, is borrowed from Italo Calvino’s Invisible Cities, a novel featuring imaginary conversations between Marco Polo and The Kublai Khan. In the book, the explorer describes his travels to the emperor through a series of evocative stories. In a similar manner, Reed invites his audience to discover his works through multiple viewpoints. By building sculpture as Calvino organized his novel through complex interlocking sections, Reed draws the viewer deeper into the mystical meanings of his work.

until every shape has found its city (all in lower case) features six large-scale sculptures and twelve drawings which incorporate diverse, multi-cultural sources. Visitors entering the gallery are met by the soaring, thirteen foot “Burj al-Shawq” (Tower of Desire) growing and evolving from its solid, spiral base into a tower of cluttered construction cranes. Drawing on a trip to Dubai during its building boom, Reed explores the conflicts between the old and the new Middle East in architecture, culture, and political upheaval.

Towards the rear of the gallery “October Hive” hangs in space just as its name implies – like a beehive suspended from a tree. In an unplanned coincidence, the sculpture’s eight interconnected chambers precisely mirror the hexagonal architecture of the GRACE gallery space. Although “October Hive’s” eight peaks resemble dormers on a traditional Cape Cod home, Reed is also referencing the round Hakka houses in

Fujian, China and eighteenth century Panopticon architecture designed so that prison guards could secretly observe inmates from a central tower.

Filling the gallery’s main front window “A Corner for Gaston and Gonzalo” extends over a built-in bench and five feet into the gallery. The sculpture’s simple, overall form is based on Reston’s nineteenth century Bowman distillery building while its center niche (the corner referred to in the title) references Reston’s more recent architecture – in particular the built-in planting boxes on Heron House balconies and the decorative sculpture and niches designed by Gonzalo Fonseca in Lake Anne. Reed made several exploratory trips around Reston gathering ideas for this site-specific work including visits to the Reston Museum and a meeting with Reston’s founder, Robert E. Simon, who discussed his intentions for the community.

The niche in “A Corner for Gaston and Gonzalo” also holds a surprise – an etched glass panel which reveals a street scene projected by a hidden camera obscura. Here Reed has brought the outside cityscape into his sculpture and given form to his title while alluding to the community’s history and hopes.

“Using architectural forms has given me a way to create a dialogue between many distinct impulses. The viewer can move through time and location. Memories of familiar forms yield to frameworks that describe a potential future or reveal a desertion of plans.” Reed’s beautifully crafted, intricate sculptures and drawings offer a rare opportunity for dialogue about our complex relationship to structures

A twenty-four page catalog accompanies the exhibition and includes an essay by Vesela Sretenovic, Curator of Modern and Contemporary Art at The Phillips Collection, Washington, DC.

What's the next big art event in town?

"30 Americans showcases works by many of the most important African American artists of the last three decades. This provocative exhibition focuses on issues of racial, sexual, and historical identity in contemporary culture while exploring the powerful influence of artistic legacy and community across generations."

Check it out online here.

(e)merge day three


That somewhat odd pic of me was taken at (e)merge by Tim Tate.

Today was the last day, and even though people traffic was a little slower, towards the 4PM hour, it increased and then suddenly there were five good sales at once: one of the very cool self contained video installations by the very young John Miles Runner (who I think was the hit of the MFA room), two paintings by Sheila Giolitti and three more drawings by yours truly.... yeah buddy!

The hot wire known as Mera Rubell dropped by the space during the day (she'd also come by the day before to chat), bringing in some of her friends and colleagues, and said some very nice things about both my work and Giolitti's paintings. Several of them stayed behind after she left, chatting and asking for business cards. That dynamo of a woman is something else, and her presence in the DC art scene is electric; I also met her gigantic husband, who is also a very nice guy.

Who was the (e)merging star from (e)merge? I predict that it will be Wilmer Wilson IV. The kid was on fire and I am told that some key collectors were picking up the photographs of his performances. Get him now (I've already have and plan to get some more).

Was (e)merge a success? Only time and 2012 will tell, but as an experienced art gallery participant (as critic, artist and dealer), I can tell you that (e)merge's success can be best measured by the fact that in its first year, it felt like an established art fair. I know, I know... were people buying art? That's the key question and the main one that gallerists use to measure a fair's success, especially in these times of financial austerity.

However, and lacking any empirical financial/sales data, it certainly "felt" like most other successful art fairs: some galleries appeared to do well, some appeared to have broken even (always a "success") and some appeared to have sold nothing. That's what happens at every art fair on the planet.

However Number Two: (e)merge is more (at least for the DMV) that just a fair:

(a) It sparked a satellite fair which in turn gestated a couple more satellites of its own; this is good for our art scene.

(b) It brought a small number of art collectors from New York and other places to DC instead of the other way around and I think they were pleased.

(c) It broke through the art apathy of the Washington Post, even if it was the typical snarkellitist diatribe of Philip Kennicott (did you notice that I've just invented a new word?) Note to the WaPo: Next time send Michael O'Sullivan please.

(d) It brought cool, new (and even snarkier) art bloggers to DC.

(e) It was a key element in getting the immensely talented Victoria F. Gaitán hooked up with Conner Contemporary.

(f) It will prove to be the launching pad for Wilmer Wilson IV's art career and I'm betting that several other unrepresented artists will be picked up by galleries.

(g) It got semi-naked people into the Skyline Hotel's pool - that's tame by Miami standards, but a first for a Washington art event.

(e)merge 2012 coming up...

(e)merge day two

Whatever ends up happening with (e)merge - and I think that good things will happen - one issue is clear: they have brought in the crowds.

People were constantly streaming in throughout the day, and very heavy at night. It is clear the buzz of (e)merge has worked in bringing in people to the Skyline Hotel, and the question now is: "is anyone selling artwork?"

I can only discuss what's happening on the third floor, since I haven't had the time or opportunity to escape room 313 and visit the other galleries on the second floor, but today was the first day that red dots began to show up in the rarified upper floor of the fair, as most of the spaces there were selling work today.

My dealer sold a massive 7 feet by 7 feet woodcut by Virginia artist John Miles Runner (currently living in Japan - see image above) to a Baltimore collector. She also sold one of my video drawings (yay!) to a well-known DC art collecting couple who have recently re-located as well as a couple of loose drawings.

That's Tim Tate below reversing the process on art paparazzi and uberartcollector Steve Krensky.



And that's someone checking out two of my video drawings. The one on the left is the one that sold.



Tomorrow is the last day - let's hope it doesn't rain when we all have to compete for the elevators to take the art to the street and reload all the vans and trucks... come see some artwork!

(e)merge day one

I never got to the pool deck last night, but I was told by reliable sources that at one time about 1500 people were jamming the Skyline's famed pool area for (e)merge's opening party.

"Some folks were jumping in the pool and swimming around in their clothes or their underwear," reported the very young reporter from one of the newspapers' covering DC's cool new art fair.

"Was anyone naked?" asked you-know-who.

"Naw..."

OK, so maybe next year.

The pre-opening party night was packed, as I reported yesterday, and (as an astute observer of the DC art scene) I can tell you that there were a lot of new faces, in addition to the usual suspects; this is a good thing... and I've never seen so many gigantic women in one place in my life. Where are all these Amazons coming from all of a sudden?

Meander: Did I mention that I was involved in a car (actually van) crash on the way to the fair? Don't ask.

I have my work in room 313, as I am being represented by MFA, my hardworking Virginia dealer.

I have three video drawings there; this is the one (which is hanging in the bathroom... oh yeah - The Lenster tricked out the head into a cool mini gallery), which has been gathering the most commentary:

Obama Agonistes. Charcoal on 300 weight paper with embedded video player and continuous loop video. Matted and framed under glass to 16 x 32 inches. Circa 2011 by F. Lennox Campello

On Thursday night, I managed to piss off members of both the vast left wing nuthouse and the even vaster right wing conspiracy.

"How dare you show our President looking so vulnerable and desperate?" questions the LWNH card-carrying member. I try to explain a little, but get interrupted: "There have been NO failures!" he almost shouts and stomps off.

Later on I catch it from the right. "I don't like the way that you pretend that this guy even cares about anything but his political agenda," notes the card-carrying member of the VRWC; I start to explain, "He's not worth the paper on this drawing," ha adds (I think) as he walks off.

Interesting how in Washington, politics even come seeping into narrative artwork; but we all knew this, right?

But that was all last night.

Tonight, after I arrived I aimed for Flashpoint and bought one of Kenny George's art slot machines; I had my eye on them last night and didn't want to become one of those "I'll be backs" who comes back and the piece is gone.

Essentially, Kenny George buys discarded slot machines, early table sized video games, pin ball machines, etc. and re-designs them so that they are each an individual work of Kenny George art. At $400 each, the fully functional slot machines (he rebuilds them) are the best deal in the entire art fair. There are two left, go buy them now.



That's me (on the left) and Kenny below, flanking my new art acquisition:



Later on the night, the amazing Mera Rubell dropped by and we spent quite a while chatting about DC and our art scene. Rubell is an amazing magnet - that's the best way that I can describe her. Before she left room 313, Sheila Giolitti's work caught her attention (always a good thing, uh?) and she popped back in and discussed it with the artist.

I had been hearing a lot of buzz about Wilmer Wilson IV's performance from various people ("His performance was amazing," noted Prof. Chawky Frenn), and later on I ran into him in the halls and Wilson was still buzzing, as he had just finished it. He looked both exhausted and primed for more action - if that's even possible.

I predict that Wilson will be offered representation this weekend: this is sort of what (e)merge is all about - at least in part - right?

Tomorrow: Back for the whole day this time.

(e)merge

(e)merge opened tonight and the joint was packed to the gills... saw lots of familiar faces, many of whom were greeted by Kristina Bilonick's crew of cheerleaders.

I didn't have much time to look at the artwork in most of the galleries, but I've already picked an amazing piece of artwork to buy from one of the galleries on the third deck - I think I'll get it tomorrow. The very quick walk-through through the ground floor revealed a lot of really good work from the individual artists showcased there.

Opening Tonight

Zenith Gallery hosts "Visual Voices" - an exhibition of DC area artists profiled in the new book "100 Artists of the Mid-Atlantic" by E. Ashley Rooney. The show at Zenith Gallery will open with a Book-signing Party with the author and artists, tonight, September 21, 6:00 – 8:30pm, and remains on display through October 29, 2011.

Visual Voices - featuring works by: Alan Binstock, Joan Danziger, Julie Girardini, Margery Goldberg, Robert Jackson, Michael Janis, Joan Konkel, Ann Marchand, Donna McCollough, Davis Morton, Carol Newmyer, Marc Rubin, Barton Rubenstein, Sica, Ellen Sinel, Betsy Stewart, Cassie Taggert, Tim Tate, Erwin Timmers, Paul Martin Wolf, Joyce Zipperer and yours truly.

Book Party, Meet the Author and Artists

Wednesday September 21, 6 - 9 PM
Exhibition: September 21 - October 29, 2011

Zenith Gallery at Chevy Chase Pavilion, second level next to Embassy Suites Chevy Chase Pavilion, 5335 Wisconsin Ave NW, Washington DC 20015

Opportunity for Photographers

Deadline: November 15, 2011

Call For Exhibit Proposals 2012 - Photoworks Exhibit Committee

The Photoworks Exhibit Committee invites photographers to submit a proposal for a group or solo photography exhibition in 2012 at Photoworks Gallery in historic Glen Echo Park. Proposals must be received on or before the November 15, 2011 deadline.

Photography Exhibition Dates:

1. March 2 - April 9, 2012

2. June 15 - July 23, 2012

3. September 7 - October 15, 2012

4. November 16, 2012 - January 17, 2013

Deadline for Exhibit Proposal Submissions: NOVEMBER 15, 2011

Visit www.glenechophotoworks.org for more details.

Meanwhile at Obama, Japan...

Here's the gist of the story: Two artists, Joe Beddall and Gregory Coates, left DC in the mid 80’s. Long story since – they both stayed in touch having bonded over color theory (Greg was at Corcoran/Joe via Kutztown) – and eventually both end up in Pennsylvania.

And now, both get selected for Artist in Residence in – seriously – Obama, Japan, which is just north of Kyoto. They’re there now creating public sculpture, which will open this Friday – Sept. 23rd.

But, I am told that there's more DC connections: these two artists are extensions of the DC color theory school. They met in the early 80’s, appreciated art here but also moved on.

Fast forward: Obama, Japan! Is that cool or what? Check out some of the new sculptures here.

Flight woes

So I boarded my plane in San Diego on Friday around 3PM, and had a plane change in Dallas for my return to Reagan National.

Around the time that we were supposed to arrive in Dallas, I noticed that the plane was doing the racetrack flying thing that they do when they are circling the airport but not landing.

20 minutes later the pilot announces that Dallas airport is closed because of rain and lightning. It seems it has been around 100 years since it rained on Dallas, and ahh... anyway - he says that he expects that we'll get the green light to land in 20 minutes or so.

Half an hour later he announces that we will need to land in Killeen Airport because the plane is running out of fuel.

We land in Killeen, where we notice that there are a lot of other airplanes on the tarmac... waiting. The pilot comes back and says that all those planes are waiting to refuel, and it seems like there's only one refueling truck at the airport. He points out that the huge plane to our left is the same model as ours, and that we're next after them.

He continues to advise that the fuel truck can only load 5,000 pounds of fuel a trip, and thus we will need three trips (and so will the guy who's before us). A little while later the fuel truck shows up and begins to fuel the big plane who is before us in line. We start a game to time how long it takes to fuel - soon we notice that it has been 20 minutes and the truck is still fueling our neighbor.

The pilot comes on and tells us that (in case we haven't noticed) that the plane to our left is being fueled and that as soon he's done we're next. He says he expects that to be 20 minutes or so. The whole planeload of people groan, and someone shouts "bullshit!" As my fellow passenger to my left notes, it has taken over 20 minutes for the first fuel load, and since the pilot said each plane needs three loads... well... you do the math.

A few minutes later, the fuel truck departs and goes away, presumably to reload and come back for part two. To our surprise, another fuel truck shows up and begins to fuel us.

"I thought he said there was only one truck in the airport," someone notes. But the fact that apparently our pilot was wrong, is good news, as we're sucking up the first 5,000 pounds of fuel now.

Soon we notice that our neighboring plane is lighting off and moving away. "Looks like that guy decided that 5,000 pounds was good enough for him to get to Dallas," someone notes.

"Someone tell our pilot," suggest another passenger.

20 minutes later, our fueling truck departs and our pilot announces that as soon as everyone sits down, we can take off for Dallas. None of us mention that he had said (several times) something about us needing three trips to fuel up... after all this is good news, and his math hasn't been very good so far.

A fellow passenger has been listening to my tale of woe about missing my connection to DC, and she has checked the web and notes that my flight has been re-scheduled to depart at 10:56PM (original departure was around 9PM).

As we prepare to take off, it is around 10PM and we're told that the flight will take 25 minutes and we'll be at the gate at 10:39PM. Looks like I'm going to make my connection.

As we approach Dallas again, once again I notice that we're doing circles around the airport, and we actually do not land until 11PM or so - more than an hour for a 25 minute trip.

And, after we land, as I had already figured out, we're told that all the gates are occupied and we'll have to wait on the tarmac until gates open up.

An hour later, almost at midnight, we get a gate and disembark.

I stand on line to get some info on what to do next... I figure that I'm sleeping at the airport tonight. Soon the lady at the counter notices the long line and informs us all that she's closing, but that we can go to any other line for help.

I switch lines, and begin to scan the horizon for shorter lines. 20 minutes later, the same person who had been at the counter is still there and there are 4-5 people in front of me.

I notice that several counters away, a new service agent has opened a desk and there is no line. The Japanese guy behind me has noticed the same thing, but by the time he's reached for his huge carry on, I'm already ten steps ahead of him and bolting (more like hopping on one foot - more on that later...) for the open counter.

It is now almost midnight, and I ask the nice American Airlines lady when the next flight is, expecting her to say 6 or 7 am. "We have a flight leaving," she looks at her watch, "in a few minutes..." She notes the look of despair on my face. "But there are still boarding." She begins to punch numbers in to get me a ticket.

I thank her profusely, and get my ticket and groan when I see that I have to take the rail to another terminal, and then I'm bolting/hopping to Terminal A. Have I mentioned that my right foot had been killing me - for some mysterious reason - since Thursday? A really scary intense pain on the top of my foot that had me limping like an old man...

I arrive at terminal A, and limp run to my gate, which is of course the farthest one away from the rail terminal. When I get there, I note the large crowd awaiting to be board and breathe a sigh of relief, as I haven't missed the plane.

It is then that I notice that this flight is going to Dulles, rather than National. Did I mention that I had driven my van to the airport and left it at the parking lot at National Airport? So I'm heading to the wrong airport.

Oh well, I figure, at least I'll be in the DMV, and maybe I can share a cab to National from Dulles to pick up my van... I'll worry about my checked in luggage later.

An hour later, after the crew shows up, we finally take off. While we're taxing to the runway, I smell vomit and an alarmed flight attendant begins to bring bags to the guy sitting behind me. The poor bastard is clearly either suffering from food poisoning or from a massive hangover, as he throws up multiple times during the flight, especially five minutes after the attendants bring him Ginger Ale and crackers. It could have been worse: I could have been sitting next to him.

We land at Dulles around 3AM, and of course, nearly everyone's bags are missing, so a huge line forms to report the missing bags to the one bleary-eyed attendant on duty. The huge line is moving very slowly when a guy tries to cut in front, and soon a near fist fight is taking place in front of me, with a female Army general almost kicking this jerk's ass in front of us. I decide that I can report the missing bag on the phone and decide to grab a cab for National.

Soon I get to the huge line waiting for taxis, and of course, there are hardly any taxis around 4AM, so it's moving slowly. The same Army general asks if anyone is heading to National and wants to share the cab with her. Soon me and another guy join her and we're heading to National and I'm praying that the $25 bucks that I have left in cash in my wallet are enough to cover my share. The fare turns out to be $64 for all of us, so I'm safe.

I hobble over to the parking garage and begin to look for my van. To my horror, my system of remembering where my van is parked has failed me, and 45 minutes later, I'm still looking for my van and my foot is really killing me.

I give up and head to the exit gates to talk to a parking attendant and see what I need to do. As I limp to the exits, I continue to click my remote.

And then I hear my van and see it, about 50 feet in front of me, right by the exits, and nowhere where I recalled I had left it (on the lower level, by the other exit). But I don't question this complicated issue dealing with chaos theory and quantum physics and head to my van, fully expecting a tire to be flat or the battery dead.

But it all fires up OK, and soon I'm on the George Washington Parkway and heading home with a gorgeous view of Washington and once again I note what a beautiful city our capital is.

I get home around 7AM, completely exhausted, crash on my bed without waking up Alida, and smile as I hear Anderson begin to awake and he shouts: "Mamma! Mamma! Find Dadda!"

Obama Agonistes

Obama Agonistes. Charcoal on 300 weight paper with embedded video player and continuous loop video. Matted and framed under glass to 16 x 32 inches. Circa 2011 by F. Lennox Campello
The above piece is my latest exploration of marrying embedded video with drawing. You will be able to see this new piece at the coming (e)merge art fair this coming week.

The work is being presented by Mayer Fine Art, who will be in room 313 of the fair. MFA will also showcase works by DC's own Ben Tolman and self contained video installations by Tidewater area artist (currently living and working in Japan) John Miles Runner.

The new video/drawing shows the President, hugging his knees and agonizing over a variety of issues and problems during his presidency - much like the same way in which every President before him and those who will come after him are often brutalized by the weight of the White House. The extraordinary responsibility of being POTUS and the even more extraordinary demands and expectations that we leverage on all who occupy that job, is reflected on the immense internal combat depicted on this piece.

The continuous loop video plays a series of 20 appropriated news clips, cartoons and other material that deliver a conceptual tie-in to the struggling President, almost overwhelmed by his failures as much as by his successes, but nonetheless ready to continue to fight.

Matted in a white pH-balanced, acid free white mat and then framed under glass in a custom-made black wood frame to 16 x 32 inches.


Detail of Obama Agonistes, showing the embedded video being played.


Detail of Obama Agonistes, showing the drawing part of the mixed media piece

Flight from hell

I started my flight back from California yesterday and just arrived home around 7AM after unexpected landing in Killeen/Ft Hood Airport in Texas... yea.

More later on trip from hell.

Visual Voices at Zenith

Zenith Gallery hosts "Visual Voices" - an exhibition of DC area artists profiled in the new book "100 Artists of the Mid-Atlantic" by E. Ashley Rooney. The show at Zenith Gallery will open with a Book-signing Party with the author and artists, on Wednesday, September 21, 6:00 – 8:30pm, and remain on display through October 29, 2011.

Visual Voices - featuring works by: Alan Binstock, Joan Danziger, Julie Girardini, Margery Goldberg, Robert Jackson, Michael Janis, Joan Konkel, Ann Marchand, Donna McCollough, Davis Morton, Carol Newmyer, Marc Rubin, Barton Rubenstein, Sica, Ellen Sinel, Betsy Stewart, Cassie Taggert, Tim Tate, Erwin Timmers, Paul Martin Wolf, Joyce Zipperer and yours truly.

Book Party, Meet the Author and Artists

Wednesday September 21, 6 - 9 PM
Exhibition: September 21 - October 29, 2011

Zenith Gallery at Chevy Chase Pavilion, second level next to Embassy Suites Chevy Chase Pavilion, 5335 Wisconsin Ave NW, Washington DC 20015

American hero

Later today President Obama will present the Medal of Honor to Sergeant Dakota L. Meyer, a Marine sergeant who braved a hail of enemy fire in Afghanistan to rescue trapped fellow Jarheads and recover the bodies of fallen ones.

We salute this courageous Leatherneck, whom I am told, shared a brewski with POTUS yesterday.

C-Note Art Sale in Reston

The Greater Reston Arts Center's ever popular annual art sale is here with a new twist!

Preview the artwork from 11am to 5pm now through the 15th. The sale itself starts on Thursday, September 15th and runs each evening through Sunday the 18th from 5-8pm. Buy your favorite pieces directly off the walls, so get there early. All art will be for sale at $100, $200, or $300.

Your participation in this fundraiser directly supports GRACE's exhibitions, educational programs and the participating artists. Get more info from GRACE, including a list of the participating artists here.

The artists are:

John Adams
Don Allen
Amos Amit
David Amoroso
Lynda Andrews-Barry
Ann Barbieri
Nancy Bass
Ann Batton
Cheryl Bearss
Kyan Bishop
Carol Bladergroen
Sam Bleier
Leonor Brazao
Jim Budish
Ruth Buhrman
F. Lennox Campello
Thomas Clarkson
Gina Cochran
Candiss Cole
Kathy Cooper
Pam Coulter
Andrea Sherfy Cybyk
Anita Dameron
Catherine Day
Danielle Desplan
Gregg Diamond
Jennifer Duncan
Jacqueline Elwell
Joy Every
Laurie Fields
Jo Fleming
Robert Flowers
Amy Flynn
Collette Fortin
Lillian Forziat
Ricky Frank
Paul Freundt
Pong Gaddi
Rosemary Gallick
H.A. Gallucio
Magaly Garza
John Geci
Annie Gedicks
Stephanie George
Geoffrey Giles
Brendan Ginsburg
Silvia Gonzalez Roman
Helen Gotlib
Joseph Grieco
Marie Gruber
Mike Guyot
Hilary Hachey
Laura Jean Hamilton
Michael Hamlin-Smith
Jeanne Hammett X
Marian Howard
Laura Howell
Jackie Hoysted
Walter/Suzy Iwanciw/Gemborowicz
Nicolette Jelen
Kristofer Johnson
Robert Jones
Michael/Steve Kane/Sells
Kathy Kautter
Joan Kelly
Greg Knott
George Kochev
Deborah Kracht
Krista
Kristin Krongard
Michele Ledoux
Steve Levine
Allison Long Hardy
Val Mahan
Marielle Mariano
Ellen Marshall
Nathaniel Mather
Carolina Mayorga
Joyce McAdams
Tom McQuaid
Mary Ellen Mogee
Laya Monarez
Marius Moore
Gene Morris
Vad Moskowitz
Ray Mosteller
Jim Mueller
Charles Munday
Anne Nagay
Michele Norris
Cathryn & Tom Nowicki
Lori O'Neill
Tim Olson
Barbara Palmer
Terri Parent
James Parker
Matthew Parker
Cheryl Parsons
Pat Peck
James Perry
David Petlowany
Jeanne/Dennis Petrosky/Guzinski
Chelsea Pomeroy
Rayhart
Carolyn Reynolds
Greg Roche
Livingston Rodgers
Huguette Roe
Dale Rogers
Lisa Rosenstein
Ellen Rosenthal
Beverly Ryan
Ellen Sanders
Tomas Savrda
John Scanlan
Dana Ann Scheurer
Stephen Sebastian
Karen & Eric Shi
Alan Simensky
Donna Sinclair
Connie Slack
Michael Stewart
Robert Taylor
Douglas Thayer
Roberta Thole
Anne Timpano
Susan Vaughan
Caroline Viene
Elena Volkhanskaia
Paula Wachsstock
Ashley Wells
Ann Marie Williams
Richard Wilson
Marius Winograd
Ping Wu
Lynn Yarrington
Zhou Yu
Zu Sheng Yu
Erica Zap
Jie Zhou

Options 2011 Opens Tomorrow


Opening Reception: Thursday, September 15, 6-8pm
Curator & Artists' Talk: Saturday, October 1, 3pm

629 New York Avenue NW, 2nd Floor
Washington, DC 20001

OPTIONS 2011 is WPA's 30th anniversary biennial exhibition of works by emerging and unrepresented artists from the DC, Maryland, and Virginia region.

Artists include: John James Anderson, Bittersweet Zine , Heather Boaz, Amy Chan, Mahwish Chishty, Lisa Dillin, Adam Dwight, Twig Harper, Artemis Herber, Katherine Mann, Jimmy Miracle, Amber Robles-Gordon, Oscar Santillan, and Stewart Watson.

Curated by Stefanie Fedor, newly appointed Executive Director, Arlington Arts Center

On view: September 15 - October 29, 2011

Wednesdays through Saturdays, noon - 6pm

Admission is free.

Planets aligning


Gorgeous imagery being reflected on the back of the airplane seat as we landed at O'Hare Airport in Chicago on September 11, 2011.

Old Fraser space to host new show(s)

The first exhibit will feature architect and sculptor Mark Kramer, who will present, “A Retrospective of Figurative Bronzes” from Oct. 12 to Nov. 5. Read it in the WCP here and in the Bethesda Patch here.

Anne Marchand at King Street Gallery

Lest We Forget

"Studio View, 9/11"
Oil on Canvas c. 9/11/2001 by David FeBland
I'm sitting on a strangely quiet Reagan National Airport waiting to catch American Flight 467 to Chicago and then 779 to San Diego.

This is a tough week to be away from the DMV, as it is the last week before the (e)merge art fair and I still have loads of things to do before the fair.

Below is the little guy scarfing up the finger sandwiches and veggie sticks at the Marymount University show opening; curator Judy Bass did a great job of assembling this show and I am honored to be included in the company of photography by Jo Ann Tooley, woodcuts by Kristin Reiber Harris, and mixed-media work by Ann Marie Williams