X-rated medieval doodles

X-rated medieval doodles reveal our ancestors had a sense of humor... read the CNN story here.

Carte Blanche at Adah Rose

June 10-August 31, 2016

Change is in the air. Summer is a time to embrace the new, spend time outdoors and shake things up a little bit. At Adah Rose Gallery we will be rotating our exhibits every three weeks and invite guest artists to participate as well as gallery artists.  One week we may feature large scale painting, one week works with an emphasis on color and the next...works with TEXT. Shows will be curated by former interns and patrons. We want to keep it exciting, dynamic and challenge the way we view art in our space.

 

Guest artists will be added continually all summer long and so far include Sarah Purvey, Sheila Giolitti, Christina Tenaglia, Dave Rothschild, Gregory Ferrand, Joy Garnett, Kyujin Lee, Tim Makepeace, McCain McMurray, and Gabe Brown. 

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

www.adahrosegallery.com

301-922-0162

Hours Thurs-Sunday 12-5:30 and always by appointment

The Looking Glass: Artist Immigrants of Washington

Let me plug an upcoming group show at American University’s Katzen Art Museum, since I am honored to be part of it. 



By the way, that gorgeous museum was built thanks to a major gift from Cyrus and Myrtle Katzen, he a brilliant collector of art who could teach lessons on how to collect; she a very talented artist with a refined eye for great artwork. The Katzen’s head honcho, Jack Rasmussen, continues to shame all other DMV museum directors and curators when it comes to them tending their own artistic back garden.


At the risk of repeating myself: most DMV museum curators would rather take a cab to Dulles Airport to fly to Berlin in order to visit an emerging artist’s studio than to take a cab to the Gateway Artists’ Studios, or to any area artists’ studios, to look at local artists.


Are you hearing me Stéphane Aquin? Taína Caragol? E. Carmen Ramos? Eleanor Jones Harvey?, etc. Learn to tend your own artistic back garden.




The show is titled The Looking Glass:  Artist Immigrants of Washington and it runs June 18–August 14, 2016. It is part of the amazing Alper Initiative for Washington Artists (if you don’t know what that it, and you are a DMV artist, you should! – contact the Katzen).



The opening is June 18 from 6-8PM. There will be plenty of adult beverages and munchies, and the artists will be there to talk about their work.




The exhibition celebrates ten artists who left Latin America for many different reasons over the last sixty years – primarily for safety, freedom, and opportunity – and made their homes, and their artistic careers and contributions, in the Washington region.




Ric Garcia, Los Santos, 2012.
Acrylic on canvas, 40 x 30.
Photo by Pete Duvall, Anything Photographic.

They include Joan Belmar and Juan Downey from Chile, Carolina Mayorga from Colombia, Ric Garcia, Jose Ygnacio Bermudez, and yours truly from Cuba, Muriel Hasbun from El Salvador, Frida Larios from El Salvador/Honduras, Irene Clouthier from Mexico, and Naul Ojeda from Uruguay. They brought with them artistic traditions that took root and bore fruit here in the United States.


See ya there!

Spokane Arts Commission call for submissions for the Chase Gallery

Deadline:  September, 16 2016  - 5 PM PST     
    
The Chase Gallery submissions are open for the 2017 season and they are seeking artists of color for the Winter and Fall Exhibition schedules.



Winter: Spokane Arts Commission is seeking work from Artists of Color for the Winter exhibition schedule (January through March.) The reception will take place on the February Visual Arts Tour.


Identities of race and culture are fluid, ancient, or new. Whether your work directly addresses your cultural experience or not we are interested in sharing it with a wide audience.


The artwork will be selected by a diverse panel of jurors.


Apply here.

New Pop Up Art Space

The DMV has a new rental pop up art space available... details below from the news release:

Bridging the gap between artists and collectors  

As an artist, I have found myself struggling to find the right place to showcase my artwork.  I know firsthand how truly frustrating it can be to not have any gallery representation and only have the opportunity to show in restaurants, coffee shops, and other venues that are not designed for the ambiance that pieces of art need to be fully appreciated. 

For that reason, I created White Cloud Pop-Up Art Space. In this space, walls, ceiling and floors are united in harmony by the purest white color. Combined with a generous amount of natural light, there is a clean, simple background to truly let your work stand out.

White Cloud is conveniently located in the heart of the U Street corridor, only 2 blocks from the U Street metro and within walking distance to some of DC’s most popular restaurants and coffee shops. All day and night, potential clients are just footsteps from the gallery.

In addition, White Cloud provides this amenities: 

•        Over 400 sq ft of art space
•        Heavy railing hanging picture system to easily hang and remove art
•        Track lighting to spotlight your pieces
•         Modern desk that can also be used as a service area
•         Nicely renovated bathroom
•         Fully functional HVAC unit
•         Large refrigerator and microwave 

Below is information on our Pricing and Frequently Asked Questions about the gallery. We look forward to working with you! 

Pricing:
Weekdays: (Monday through Thursday) $300 for two hour public show.  

This price also includes two hours for set-up and one hour after closing to clean and    remove pieces. Set-up can begin at 10 AM on the day of the show. All exhibitions must  end by 11 PM. 

Weekends: (Friday, Saturday and Sunday) $500 for two hour public show. This price   also includes two hours for set-up and one hour after closing to clean and remove  pieces.   Set-up can begin at 10 AM on any day of the show. All exhibitions must end by
11:00 PM 

Two-day weekend show: (Friday, Saturday, Sunday) $800.  Set-up can begin at 10 AM  on the first and second days of the show. Set-up can begin at 10 AM on any day of the   show. All exhibitions must end by 11 PM.  

Full weekend show: (Friday through Sunday) $1000.  Set-up can begin at 10 AM on    any day of the show. All exhibitions must end by 11 PM. 

FAQS 

WHERE IS THE GALLERY LOCATED?
Our address is at  1843 14th street NW 2nd floor, Washington DC, at the corner of 14th
and T St NW. 

WHAT ARE THE GALLERY HOURS?
White Cloud opens at 11 AM. Until 7pm, but better to make an appointment first. 

CAN I TOUR THE STUDIO BEFORE RENTING IT?
Of course!  White Cloud Gallery can occasionally accommodate walk-in tours, but it’s  always best to schedule an appointment. Give Miguel a call . 

WHAT IF I NEED MORE TIME TO SET UP OR REMOVE MY ART?
No problem. I’m happy to work with you. This is negotiable. 

IS THERE A SERVICE ELEVATOR?
White Cloud Gallery is on the second floor of the building and we do not have a service  elevator - please come prepared to carry any equipment/props up a flight of stairs.

WHERE CAN I PARK?
A new public parking lot just opened across the street from White Cloud Gallery at 14th
St NW and Swann St. NW). There is street parking on 14th Street and the surrounding  neighborhood blocks.  

INSURANCE
Artists are responsible for insurance that covers damage to their artwork.  We do  require a $300 deposit in cash for all exhibitions to cover any incidentals and clean/up.
This deposit will be returned at the end of the exhibition 

DO YOU CHARGE A COMMISSION?  Nope!            

HOW DO I RESERVE THE GALLERY?
Gallery reservations are on a first come first serve basis. A non-refundable deposit of  50% of the total cost is required to hold the space. The remaining 50% of the balance is  due seven days before the exhibition.

1843 14th street NW, Washington D.C. 20009
(202) 288 1391 whitecloudgallery@gmail.com
Artist Director Miguel Perez Lem 

Opportunity for artists

Deadline: July 11, 2016


National and international artists are invited to submit qualifications for the Oregon Art in Public Places Roster. The Oregon Arts Commission and the Regional Arts & Culture Council manage the percent for art programs for the State of Oregon, Multnomah County, and City of Portland. The Roster is a resource for public art selection panels to identify artists most suitable for their community and specific project needs.


Enter here.

Airborne

Airborne today and heading to the Miami tonight for a luncheon in honor of my amazing mother.

The Usefulness of Art in the Community

 

The WPA is pleased to invite you to a useful talk by Kemi Ilesanmi, Executive Director of The Laundromat Project.

Thursday, June 16, 2016, 6:30pm

The Laundromat Project has been producing art in and with communities for more than a decade. Their mission is to unleash the creative potential already in neighborhoods. Kemi Ilesanmi will discuss the LP's work from a use-value perspective and within the context of the larger, ongoing evolution of community arts organizations nation-wide. 

How do I start collecting art?

I am often asked, usually by friends outside the art cabal, and by people who become interested in collecting art, but have never collected artwork, what they should “collect.” 

"What should I buy Lenster?" "How do I start?"

Many years ago, I formed an opinion based on empirical observations, that there are really only two basic rules to start an art collection:

1. Collect what you like, and
2. Whenever possible, buy the original. 

That’s clear, right?

Buy and collect only what you like, what attracts your eyes, and what interests you personally, and is within your economic means. If you like the work of a particular artist, or a specific kind of prints (like Japanese woodcuts), or drawings (such as figurative drawings), then focus your collection in those areas.  This also comes with a caveat, as a lot of excessive attention is often placed on a "focused" collection. A diverse collection may make less sense to some than a focused one, but it only has to make sense to you! After all, it is your collection.

It has also been my experience, that the more affluent a “beginning collector” is, the higher the probability that he/she will get swindled into spending a lot of money for wall décor and fancy frames. Since most of us are not affluent, the high end of the commodified art market is not where I’m focusing this post.

For those affluent folks: if the "gallery" has large realistic paintings of cigars resting on wine glasses, or the artwork comes with an "option" for a rococo frame, run for your lives!

The DMV offers an immense variety, and multiple, loads of, tons, mucho, a lot, beaucoup, diverse sources to begin an art collection.

The key to most of that statement is the number of art schools, art leagues, art centers, and reputable commercial art galleries that exist in our area. Add to that the number of independent artists’ studios, and you have the perfect mix for starting an art collection.

Let start with the schools; nearly all art schools and universities put together student shows. Usually these are Master of Fine Arts (MFA) shows – the graduation show for MFA program students.  American, Catholic, George Mason, George Washington, Maryland, Montgomery Community College, Northern Virginia, and others are but a sampling of some excellent places to troll for student artwork.

Buying student artwork generally equals buying an artist early on his/her career.

Buying an artist early in his/her career is the “golden nugget” of most art collectors’ hopes.  That puppy crossed my road a few times in my life.

In 1989 I stood in front of an original oil painting by Scottish painter Jack Vettriano at the Royal Scottish Academy in Glasgow... I loved it! 


I think that it was Vettriano’s first ever show (it was a group show; actually a painting competition or was it the Royal Scottish Academy annual show?), and there were two of his early paintings (all done as I recall, at his first - and only - art class).

It was on sale for 300 British pounds, which at the time for me might as well have been 300 million pounds, since my US Navy Lieutenant’s salary barely covered expenses in Scotland, which is where I was stationed at the time.  That painting sold for 300 pounds. .. 300 pounds at the time was around $500 dollars.

Today, although he is despised by the art critics and the British arts establishment, he is adored by the public and by some very important collectors, and his works, if you are lucky enough to get on the waiting list for one, ranges in the hundreds of thousands of pounds.

And that early one that I passed on? Sold at Sotheby’s a few years ago for a lot more... a LOT more pounds. Beginning art collectors can find their own early Vettrianos at art competitions, MFA shows, outdoor art festivals, open studios, etc.

I will discuss open studios in our region later on.

Who owns the copyright to your tattoo?

Did you design your own tattoo?

Then read this.

What can I say?

Anderson The Campello
2016 Photo by Zarya Navarro

¿Quién tiró la tiza?

While I was in Miami last week, a friend turned me onto this Afro-Cuban rap song about the sad state of race injustice in Cuba, where one of the planet's most racist dictatorships oppresses their people, and oppresses their African ancestry citizens even worse.

The refrain goes:

Who threw the chalk?

That Negro

Who threw the chalk? Was it the doctor's son? No

Who threw the chalk? That Negro

Because, the son of the doctor, John, is the best

An example of one of the verses:

In class, if I raise my hand, get out of the class Negro

If I argue with the girl, it had to be the Negro

If I get a good grade on the test, I know that you copied it Negro

And if I fail the test, You didn't study - I'm happy

¿Quién tiró la tiza?
El negro ese.
quien tiró la tiza no Fue el hijo del doctor? no
quien tiró la tiza, el negro ese
porque el hijo del doctor, john es el mejor

¿Quién tiró la tiza?
El negro ese.
quien tiró la tiza no Fue el hijo del doctor? no
quien tiró la tiza, el negro ese
porque el hijo del doctor, yo

primero escucha y despues goza asi que ponte pa las cosas dio!
primero escucha y despues goza asi que ponte pa las cosas

primero escucha y despues goza asi que ponte pa las cosas dio!
primero escucha y despues goza listen to me, pa lo que digo aqui

A ver como te explico yo esta parte, para ese año estaba yo en la escuela nacional de arte
estudiando el primer año del nivel elemental y
Yo un negrito chiquitico con su uniformito y si acaso colonia Bebito encima

En cambio los hijos de de papi y mima iban con Addidas, medias deportivas y una perfuma nada que ver con la mía, mira observa aqui na´má, un dolor solo en común teníamos el color,pero, ima-gína-te papa es doctor, y ya tu sabes, cuatro puertas, pescador
Y yo el Zingaro porque el mío sí era constructor, hey yo

¿Quíen tiro la tiza? El negro ese.
Quíen tiro la tiza? No fue el hijo del doctor. No.
¿Quíen tiro la tiza? El negro ese.
Porque el hijo del doctor, John, es el mejor. * se repite*

El hijo del doctor da ropa, zapatos
El hijo del doctor merece un buen trato
El hijo del constructor, ese negro es delincuente
Y por eso este año, coño, va a ser repitente.
El día del maestro llegará en cualquier momento
Y ¿cuál será el regalo? Ladrillo, cemento.
Pa´llá pa'lla Esos negros, elementos,
Me quedo con el doctor que resuelve medicamentos

En clase si levanto la mano, sal del aula negro.
Si discuto con la jeva, tenía que ser el negro
Si sacaba buenas notas, sé que te fijaste negro
Y si desaprobaba, no estudiaste, me alegro

Por eso no es lo mismo el hijo de un doctor que el hijo de un constructor
Porque la vida del doctor es carro, motor; la vida de un constructor es con dolor. hey yo!

¿Quíen tiro la tiza? El negro ese.
Quíen tiro la tiza? No fue el hijo del doctor. No.
¿Quíen tiro la tiza? El negro ese.
Porque el hijo del doctor, John, es el mejor.*se repite*

Empezandose ejercicios complicados
Yo volviéndome un mago
Y una pila de profesores dándome de lado
Suerte que a mi no me fue tan mal
Y una profesora al frente con clase particular, cosa usual
Bien por el primer control parcial, cosa extraña
Profesores preocupados diciendo, hay maraña
Como siempre, ah, el negro y su problemática
Se habían robado cuatro pruebas y de matemática
La misma prueba que ya había examinado.
Comentario: Ya sabía por qué había aprobaó
Porque tú eres un mano suelta, sinvergüenza, descarao
No asimilaban que este negro había estudiao
Las clases particulares no eran gratis, eran pagao
Bueno, si las pagaste ya tu estás desaprobao
Men dime quien aguanta este tren
Y la esperanza de la pura era verme en la FEEM, ¿qué tu crees?
pero estas son cosas que revuelven la gantiña
antes de que me botaran yo si me fui pa la ********

¿Quíen tiro la tiza? El negro ese.
Quíen tiro la tiza? No fue el hijo del doctor. No.
¿Quíen tiro la tiza? El negro ese.
Porque el hijo del doctor, John, es el mejor.*se repite* y se repite

primero escucha y despues goza asi que ponte pa las cosas dio! ah!
primero escucha y despues goza asi que ponte pa las cosas, lleva ritmito

¿Quíen tiro la tiza? El negro ese.
Quíen tiro la tiza? No fue el hijo del doctor. No.
¿Quíen tiro la tiza? El negro ese.

claro claro claro es el mejor * se repite*
el hijo del doctor john

( no se si diga john o namas yo!)

suerte!!

Tiene el leopardo un abrigo

To my dear friends and extended FB friends... thank you for all your kind words about my mother's passing... I leave you with a poem by Jose Marti:

Tiene el leopardo un abrigo
En su monte seco y pardo:
Yo tengo más que el leopardo,
Porque tengo un buen amigo.

Duerme, como en un juguete,
La mushma en su cojinete
De arce del Japón: yo digo:
"No hay cojín como un amigo".

Tiene el conde su abolengo:
Tiene la aurora el mendigo:
Tiene ala el ave: ¡yo tengo
Allá en México un amigo!

Tiene el señor presidente
Un jardín con una fuente,
Y un tesoro en oro y trigo:
Tengo más, tengo un amigo.

Another tree falls

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 mainlands 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!

How do your feet move?

Your brain helps your feet move. The cerebellum is at the back of your brain and controls balance, movement and the way your muscles work together. Nerves send electric signals very fast between the cerebellum and muscles in your feet. Your foot muscles move your bones. Together, bones and muscles in your feet and ankles help your feet move. Smaller muscles work right in your foot, but some muscles that move your feet are higher up in your legs. There are 33 joints or connections between your foot bones, and there are 26 bones and more than 100 muscles in your foot. A quarter of the bones in your body are in your feet.

- Anderson Campello, age 6

At American University's Katzen Museum

Contemporary North Korean Art:
The Evolution of Socialist Realism

Curated by BG Muhn

The forms and structure of contemporary North Korean art, a central and highly developed dimension of the national culture, are largely unknown to the outside world. This exhibition, the first of its kind in the US, seeks to broaden understanding of North Korean art beyond stereotypes of propaganda and kitsch to show sophisticated and nuanced expressive achievements. It investigates previously unrevealed evidence of North Korean artistic experimentation and the evolution of Socialist Realism within this culturally homogeneous context. The works in the exhibition focus on the development of Chosonhwa, North Korea’s predominant painting medium that is revered as the nation’s most refined. The exhibition is curated by BG Muhn, artist and Professor at Georgetown University.

 

 

South Korean Art:
Examining Life Through Social Realities

Curated by GimChoe Eun-yeong

Examining Life Through Social Realities documents and examines life and the social realities of people living on the Korean peninsula through the Realist paintings of ten South Korean contemporary artists. As explained by exhibition curator GimChoe Eun-yeong, definitions of Realism have changed over time, but the Realism of South Korea closely approximates 19th century French Realist painter Gustave Courbet’s use of the term: to manifest artists’ perspectives of the world through expressive techniques and methods.

 

Art Cart:
Honoring the Legacy

Curated by Pamela Harris Lawton and Adjoa Burrowes

This exhibition ties together two cities - Washington, DC and New York City - in an inter-generational, inter-disciplinary project. Professional visual artists aged 62 and older are matched with students of art, healthcare, and aging to document and preserve their artistic legacy. The exhibition includes painting, photography, printmaking, sculpture, and installation by ART CART artists that highlight turning points in the artists’ lives including the Civil Rights and Women’s Movements.

ART CART: SAVING THE LEGACY is a DC and New York based project that helps older professional artists and provides mentorships to students. ART CART: HONORING THE LEGACY features Alonzo Davis, Cheryl Edwards, Annette Fortt, Cianne Fragione, Pauline Jakobsberg, E.J. Montgomery, Annette Polan, and Terry Svat.

 

 

The Looking Glass:
Artists Immigrants of Washington

Alper Initiative for Washington Art

This exhibition celebrates ten artists who left Latin America for many different reasons over the last sixty years—primarily for safety, freedom, and opportunity—and made their homes, and their artistic careers and contributions, in the Washington region. They include Joan Belmar and Juan Downey from Chile, Carolina Mayorga from Colombia, Ric Garcia, F. Lennox Campello, and Jose Ygnacio Bermudez from Cuba, Muriel Hasbun from El Salvador, Frida Larios from Honduras, Irene Clouthier from Mexico, and Naúl Ojeda from Uruguay. They brought with them artistic traditions that took root and bore fruit here in the United States.

 

 

 

Bandits & Heros, Poets & Saints:
Popular Art of the Northeast of Brazil

Curated by Marion E. Jackson, Ph.D. and Barbara Cervenka, O.P., Curators

Bandits & Heroes, Poets & Saints explores how the ancient cultures of Africa blended with indigenous and colonial Portuguese traditions to form the vibrant and complex cultural mosaic of modern Brazil. This eclectic collection of popular art—photography, sculptures, paintings, religious objects and books of poetry—depicts the vibrant culture of the Northeast of Brazil and the Nordestinos. The exhibition explores the coming together of diverse traditions of the region through work by historical and contemporary artists.

 

 

SAVE THE DATE

 

Opening Reception
June 18, 6-9 p.m.

Bethesda Painting Prize winners

The Bethesda Arts & Entertainment District announced the top three Bethesda Painting Awards prize winners on Wednesday evening during the exhibition’s opening at Gallery B. Tanja Softic of Richmond, VA was awarded “Best in Show” with $10,000; Richard Levine of Falls Church, VA was named second place and was given $2,000 and Amy Sherald of Baltimore, MD received third place and was awarded $1,000.

 

Tanja Softic studied at the Academy of Fine Arts of the University of Sarajevo and earned her Master of Fine Arts in printmaking from Old Dominion University in Norfolk, VA. She works across the media of printmaking, drawing, photography and book arts. She is a recipient of the Pollock-Krasner Grant, National Endowment for the Arts/ Southern Arts Federation Visual Artist Fellowship and Soros Foundation - Open Society Institute Exhibition Support Grant. Tanja’s work is included in numerous collections in the United States and abroad, among them New York Public Library, Library of Congress Print Department and New South Wales Gallery of Art in Sydney, Australia. She participated in 12th International Print Triennial in Cracow, Poland and won a First Prize at the 5th Kochi International Triennial Exhibition of Prints, Ino-cho Paper Museum in Kochi, Japan in 2002. She completed print projects at Flying Horse Press, Tamarind Institute and Anderson Ranch's Patton Print Studio. She lives and works in Richmond, VA, where she is Professor of Art at the University of Richmond.

 

The eight artists selected as finalists are:

 

John Aquilino, Rockville, MD

Katie Baines, North Chesterfield, VA

Amy Chan, Henrico, VA

Andy Karnes, Baltimore, MD

Richard Levine, Falls Church, VA

Erin Raedeke, Montgomery Village, MD

Amy Sherald, Baltimore, MD

Tanja Softic, Richmond, VA

 

A public opening will be held on Friday, June 10, 2016 from 6 – 9pm in conjunction with the Bethesda Art Walk. Gallery B is located at 7700 Wisconsin Avenue, Suite E in downtown Bethesda. The work of the eight finalists will be on display from June 3-27, 2015. Gallery hours are Wednesday through Saturday from 12 – 6pm.

Entries were juried by Dorothy Moss, Associate Curator of Painting and Sculpture at the National Portrait Gallery and Director of the Triennial Outwin Boochever Portrait Competition; 

Dr. David Park Curry, Senior Curator of Decorative Arts, American Painting & Sculpture at the Baltimore Museum of Art and Megan Marlatt, award-winning painter and Professor of Art and at University of Virginia.

 

The Bethesda Painting Awards was established by Carol Trawick in 2005. Ms. Trawick has served as a community activist for more than 25 years in downtown Bethesda. She is past chair of the Bethesda Arts & Entertainment District, past chair of the Bethesda Urban Partnership, Inc. and founder of The Trawick Prize: Bethesda Contemporary Art Awards.

".art" domain to launch this fall

UK Creative Ideas Limited (UKCI) signed an agreement with ICANN, the Internet Corporation for Assigned Names and Numbers, in late March, to launch and be the exclusive operator of the new .ART top-level domain (TLD). Launching in late fall 2016, .ART is new, undeveloped Internet real estate dedicated to serving the arts and culture communities by providing the infrastructure to enhance and preserve the art industry’s online presence. With more name choice, shorter names, exact match for searches, and immediate identification with the arts, the global art world will have a new opportunity to meaningfully connect to their audiences in the digital realm.

“We are very fortunate to have secured .ART for the long-term,” states Ulvi Kasimov, Founder of UKCI. “We are at the beginning of an exciting new phase of innovation for art online, and .ART will be an important facilitator for existing and future players within the arts and culture community.”

“Our goals are to support existing museums, galleries, artists, auction houses and others in protecting and enhancing their brands, to inspire new organizations to build on .ART real estate, and to make domain names available to younger players to the art scene whose names are no longer available in other TLDs and want to immediately be identified with the art world,” states John Matson, CEO of UKCI.

The process of securing .ART began in 2012 when UKCI submitted an application to operate .ART to ICANN, the global nonprofit responsible for regulating and overseeing the Internet’s domain name policy. In 2014, ICANN expanded the number of generic top-level domains including major cities such as .nyc and .london, industry-specific domains such as .luxury and .guru; as well as brands like .axa, .bmw, and .google. Now with this new contract in place, the launch of the .ART domain will take place in late 2016.

To request a .ART domain or to learn more about .ART, please visit the website at www.dotart.domains.

Airborne

Heading to Miami to see my mother...

Last Friday the DC Commission on the Arts and Humanities (DCCAH) launched a new eMuseum that makes the District's fine art and public art collections available to the public in digital format for the first time.

 

The site will catalogue more than 2,800 pieces of the District's Art Bank fine arts collection, as well as public artworks commissioned by the DC government. Users will be able to search by different criteria, including artist name, media and year of creation.

 

"Using technology in this way allows us to make these artworks accessible to a larger group of the population," said Arthur Espinoza, Jr., Executive Director of the DC Commission on the Arts and Humanities. "The District has acquired an impressive collection of works by local artists over many years, and we want to make sure that our residents and visitors have the opportunity to see and engage these pieces."

 

The new site is part of innoMAYtion, Mayor Muriel Bowser's month-long initiative that showcases DC's innovation ecosystem.

 

The Art Bank is the District's fine art collection, managed by DCCAH. Each year, DCCAH takes submissions from local artists to be included in the collection. Submissions are reviewed by an independent panel that makes purchase recommendations. The artworks are then displayed in public areas of District government buildings.

 

Currently, 40% of the collection is available to view online. The total collection will be online by the end of 2016. Public artworks commissioned by the District will also be viewable online.

 

Visitors to the site will have the option to register for a free account to save their favorite works, as well as share artworks on social media networks.

 

For more information, visit: www.dcarts.dc.gov.