Apply for 2021 Solo Exhibitions in the Gibbs Street Gallery, Common Ground Gallery, and Concourse Gallery

Deadline: April 5, 2020. 

VisArts invites artists working in all media to apply for 2021 Solo Exhibitions in the Gibbs Street Gallery, Common Ground Gallery, and Concourse Gallery. Exhibitions in each of the galleries explore the breadth of contemporary art featuring emerging to mid-career artists. Exhibits reflect a wide range of media and experimental approaches that offer the viewer unexpected interactions with art. 

The Gibbs Street Gallery is approximately 1,100 square feet with 16 ft. ceilings. It is on the street level with floor to ceiling windows along one wall. International, national and local artists are welcome to apply. The Common Ground Gallery is located on the second floor and is approximately 300 square feet. 

Artists must live in the Mid-Atlantic region to apply for a solo exhibition in this gallery. 

The Concourse Gallery is located on the second floor and is approximately 500 square feet.  

It has curved windows along one wall. International, national, and local artists are welcome to apply. 

Applicants who have participated in a solo exhibition at VisArts within the past two years are not eligible to apply. 

All application materials must be submitted online through their website no later than 11:59 pm EST on 04/05/2020. 

Click here to submit.

Christie’s Tried a Sale of Art Starting at Just $100. It Paid Off Big Time

Christie’s bet that an online-only sale of lower-priced art would attract new buyers seems to have paid off big time. The sale, dubbed Christie’s 100, featured 92 lots by many well-known contemporary artists, with bids starting at as low as $100. Certain works even sold for considerably less than the average New Yorker’s monthly rent, including a Louise Lawler print for $1,000, and a John Bock work on paper for $750.

Read the whole article by Eileen Kinsella here.

Opportunity for Artists

Deadline: March 2, 2020

Up to four artists are awarded annually with a solo gallery exhibition in one of two gallery spaces (each approximately 13' x 25') at the Misciagna Family Center for Performing Arts at Penn State Altoona. 

Open to all visual artists in any media. Entries must have been completed within the last two years. 

Artists will be selected from on-line submissions by a faculty committee. Artists creating original works of art in any media are encouraged to apply. If awarded, artwork must be suitable for installation and must not exceed 84" in any firm dimension. 

Two-dimensional works must not weigh more than 60 lbs., including frame and must be ready to hang with the appropriate attached hardware. Three-dimensional works weighing over 80 lbs must have a base that can be rolled or composed of elements that can be easily moved.

 Digital and non-traditional media will be considered. 

There is no submission fee. 

More info., visit: https://altoona.psu.edu/academics/divisions/arts-humanities/misciagna-family-center-performing-arts/application-ivyside-juried-arts-competition  

Contact: ehf10@psu.edu or call 814-949-5451.

Wanna go to an opening?

CARVED IN STONE | PAINTED WITH LIGHT 

Exhibit Dates: January 21, 2020 - April 4, 2020

MEET THE ARTISTS Reception: Wednesday, February 5, 5-8 pm

1111 Pennsylvania Ave NW, Washington DC 20004

Featured Artists

David Therriault, Carolyn Goodridge & Hubert Jackson 

New Members Show Opens Tomorrow at Foundry

Courtney Applequist and Sheila Blake - New Members Show

February 5 - March 1, 2020

   

       Reception and artists' talk:  Saturday  February 8, 5 - 8 pm

Foundry Gallery

Courtney Applequist
My work draws inspiration from the seen world.  I seek the use of found geometries and colors to depict the feeling of a moment, finding a degree of tension: beauty and dissonance.  I work primarily in oil paint, interjecting charcoal, pastel and other media as the moment requires.  The thoughts I start with are nothing more than a beginning, and I am driven to a new place as the piece unfolds.

Sheila Blake
I’ve been a painter all my life. Creating the illusion of space and light with paint is what thrilled me from the beginning, and it thrills me now.  I went to Cooper Union in New York, lived in California, then moved to Durham, where I taught art at Duke University.  After moving here I taught at the Corcoran.  Now I have a studio in Takoma Park, and keep the demands of life to a minimum so I can paint full time, every day.  There’s so much in these paintings: the light, the mood.  The subterranean menace.

Last week to see this cool show!

Small Treasures  

On display now through February 8, 2020 

At 1429 Iris Street NW, Washington DC 20012  

ARTISTS: Caroline Benchetrit, William Buchanan, F. Lennox Campello, Lea Craigie-Marshall, Elissa Farrow-Savos, Susan Freda, Carolyn Goodridge, Ibou N'Diaye, Peter Hansen, Stephen Hansen, Hubert Jackson, Mihira Karra,  Anne Marchand, Kristine Mays, Hadrian Mendoza, Nancy Nesvet, Carol Newmyer, Keith Norval, Katharine Owens, Suzy Scarborough, Gavin Sewell, Patricia Skinner, Bradley Stevens, Paul Martin-Wolff, Marcie Wolf-Hubbard... 

Artists New to Zenith Gallery: Nina Benton, Najee Dorsey, Lisa Meek

Frazetta and me

When I was a young teen, I ran across the book covers of the late, great master Frank Frazetta.  To say that his artwork made an impression upon me would be the second greatest understatement if all of human history.

I became a Frazetta collector. I bought books, magazines, fanzines, posters, and later on in life, when I could begin to afford it, original artwork.

I met the artist a couple of times in my life, and both times I was essentially hypnotized by what a nice guy he was, and how generous and open.

When I decided to apply to art school at the University of Washington, my application portfolio contained nothing by Frazetta-style works, and comic book style panels.  As my counselor noted during the interview, my application package was not what the review panel was "used to seeing" and thus the interview was going to be "more important that usual."

I was accepted, and in my subjective... cough, cough... opinion, I am currently the second greatest graduate ever from that school... cough, cough.

Two Washington Huskies: Chuck Close and Lenny Campello

But I digress - a well documented Campello habit, which I call "meandering." In the years since, my respect and awe for Frazetta has continued to grow, and he will always be a key part of my artistic footprint.

A few days ago, while searching for something else, I found a couple of the Frazetta style drawings which I created in 1977 for that epic proposal. They are the work of a 20-year-old seeking to imitate a master artist.

I was clearly no Frazetta (by far), and clearly I was soooo lucky that the university's selection panel saw something in these Napoleon Dynamish amateur drawings... Notice how my "art" signature is even in the style of his iconic signature -- but here they are for posterity:

The curious case of the broken Bisque

As most of you know, starting a few years ago, and kindled by a happy accident that I had while creating a piece for a fundraiser for the Smith Center for Healing, I discovered the joy of creating original artwork by recycling broken Bisque, which otherwise be discarded and would fill more landfills somewhere.

Let me digress: I was once told that one of Rome's seven hills is nothing but broken pottery that accumulated over the milennia.

Back to the curious case at hand.  In order to do this, I contacted several of the local DMV area "do it yourself" pottery places - I actually wrote most of them a snail mail letter, asking them to save me their broken Bisque.

Nearly all ignored my letter, except for Color Me Mine in Rockville, which told me that it would take them a few months to accumulate enough broken Bisque that would make it worth for me to take the trip. A couple of weeks later they called me and I came back with two boxes full of broken Bisque.

I used those pieces to create the work which then I exhibited in 2017 at my solo show at Artists and Makers Studio in Rockville and which got this nice review in The Washington Post.  This is what the wall of those pieces looked like:

I was on a roll! Not only creating innovative new artwork which was really catching on well with the public ar art fairs in New York, Houston and Miami, but it was essentially recycling and re-purposing a substrate which otherwise would end up in our landfills.

Campello Bisque wall at Pulse Art Fair Miami Beach 2019

A good all around story... right?

When I was offered another solo show last year at the Stone Tower Gallery in Glen Echo, I contacted all the same local places and even spread out a little further out in MD and VA.  This time I didn't get a single response, so I decided to drop by Color Me Mine in Rockville and All Fired Up in Bethesda, and personally ask for them to save for me their broken Bisque.

Bethesda said they'd have to ask their manager, who wasn't there at the time... since I hang around that area a lot, I came by a few days later and did speak with the manager, who agreed to collect the broken Bisque. I then returned in a few weeks, only to be told by the attendant that she had no idea what I was talking about, and that I needed to talk to the manager... again. I did so a few days later, and was once again reassured that they'd save the broken Bisque for me. A couple of weeks later I stopped by and, as you may be already guessing,  I was once again told by the new attendant that she had no idea what I was talking about, and that I needed to talk to the manager. This cycle, because I'm around that area often, continues to repeat months and months later. It has become almost a like a never ending game for me.

I even received an email from their manager which said: "Hello thank you for contacting us here at all fired up. We don't have any extra bisque ceramic shards that are scheduled to be thrown away. If we do come across any I will keep you in mind."

But zero (so far) there has been broken Bisque ever collected from All Fired Up.  As far as I know, all their broken stuff ends up in their dumpster, and I'm not into dumpster diving where there are so many restaurants that share the dumpsters.

Rockville was a different story. When I stopped by, their manager informed me that she needed to get permission from "corporate" before she gave me the broken Bisque.  When I informed her that they had given me broken Bisque before, she informed me that the shop was under new owners. I smiled and told her that I'd be back.

A few weeks later I was in the area and dropped in. "Corporate said no," informed me the store manager. I was surprised, and asked her if she knew the reason. She passed on that "corporate was concerned that if the store gave me broken Bisque and I cut myself with the broken Bisque, that I would sue them."

I was a little stunned, and just looked at her for a while in silence. As she was noticeably becoming uncomfortable, I thanked her and left.

I then researched who "corporate" was, and found them, and wrote then a letter.

I didn't hear back from them... so I wrote them another letter. After being ignored twice, I sighed in exasperation and looked online placed an order from Chesapeake Ceramics in Baltimore. When their carefully box arrived full of beautiful Bisque, I broke all of them and created new work -  you can see it here.

Then it dawned on me that they must have tons of broken Bisque, and that dumpster diving in their warehouse might yield a treasure. And thus, after I came back from Miami in December, I wrote them a letter.

To my delight, a nice lady named Gina called me right back in a few days. This angel from the Baltimore regions told me that they'd be delighted to save broken Bisque for me, and that they'd be glad to be part of re-purposing the broken material for an art project. She followed it all up with an email.

Superb customer service from someone who is really good at her job.

A few weeks later Gina called me - she had saved a couple of boxes for me, and today, when I drove up to their warehouse, I finally met this very nice lady, and gave her a hug.  When I backed up to their loading dock, the nice gent there even helped me to load up, not one, but about half a dozen boxes full of beautiful broken Bisque!

Thank you Chesapeake Ceramics! You untangled what seems like a winning proposition for everyone and which for some reason became the curious case of the broken Bisque.

An ignorant man can get educated

Someone should send this article to Kaepernick (@kaepernick7) the next time that he wears that T-shirt with Fidel Castro on it:

"The dominance of the white political leader and the disenfranchisement of black Cubans have always been a part of the island’s history."

 NY Times article here.

Opportunity for Artists

Deadline: February 17, 2020. 

The Delaplaine Arts Center, 40 South Carroll St, Frederick, Maryland, introduces Graphic Era, a celebration of the graphic arts by digital design professionals and artists from around the U.S. 

This exhibition will feature a selection of artists who are using illustration to engage larger audiences via social, digital and print media. 

Graphic Era introduces visitors to the digital arts and artists who adapt this artform to a new generation and their interests. 

Exhibition dates: April 4 – 26, 2020. 

Awards: Grand Prize $500; Gold $250; Silver $150; Bronze $100. 

For additional information, visit: https://delaplaine.org/exhibitions/opportunities/graphic-era/

Shirley Chisholm and me

Shirley Chisholm, who was also the first woman to seek the Democratic nomination as president, will be honored with a statue at Prospect Park.

Read the article about Congresswoman Chisholm here.   She was the Congresswoman who nominated me to the Naval Academy in 1976! When I got an appointment, she called me to congratulate me!

Old Van Gogh certified as new real Van Gogh

For 50 years, a self-portrait of Vincent van Gogh was called a fake due to its apparent break from form. Now, experts from the Van Gogh Museum believe the painting might be the only known work by the addled artist completed in the throes of psychosis.

Read the story here. 

Worst phishing email ever?

Awright - it's not an art scam email, but this mutant has a long way to go... it's also their line spacing...

MR CHRISTOPHER A WRAY usa@fbi.com

Tue 1/21/2020 9:28 PM

FEDERAL BUREAU OF INVESTIGATION

  UNITED STATES DEPARTMENT OF JUSTICE

  WASHINGTON, D.C. 20535

 We the High Commission received a report of fraudulent acts

  against you and in a meeting held with

  the Government and the world high commissions against fraudulent

  activities by Citizens, Your are among those scammed, as listed by the

  Financial Intelligent Unit (NFIU). A re-compensation has been issued

  out in the form of an ATM DEBIT CARD of $2,316,000USD (Two Million,

  Three Hundred and Sixteen thousand United States dollars)  and has

  already been in distribution to you as a Victim.

  Your ATM CARD was among those that was reported undelivered as we wish

  to advise you to follow the instructions of the Committee to make sure

  you receive your ATM CARD immediately for your usage. NFIU further

  told us that the use of the Couriers  was abolished due to

  interception activities noticed in the above mentioned courier

  services in which the Financial Intelligent Unit have made a concrete

  arrangement with the Courier Company for a safe delivery to your

  door-step once the beneficiary meets up the demand of the conveyance.

  We advise that you do the needful to make sure they dispatch your

  recompense on time. You are assured of the safety of your ATM CARD

  availability,also be advised that you should stop further contacts

  with all the fake lawyers and security companies who in collaboration

  have a scam deal with you immediately to check if the delivery date

  suits you.

  You have to stop all contact with any other company emailing you

  online concerning Money, and make sure you forward to them all thier

  email and mobile numbers and you will contact Mr. David Beardsley for

  your ATM DEBIT CARD through his email:

  (americadeliverycomapny1300@gmail.com) Let us know immediately you

  receive it there.

  Yours truly,

 MR CHRISTOPHER A WRAY

    DIRECTOR

  FEDERAL BUREAU OF INVESTIGATION

  UNITED STATES DEPARTMENT OF JUSTICE

  WASHINGTON, D.C. 20535

Hemphill has moved

Hemphill has moved!

After 15 years on 14th Street, the gallery has relocated to 434 K Street NW. In a few weeks, they open to the public with an exhibition of paintings and sculptures by Linling Lu. The Lu show follows her move into an expanded studio space in a historic Baltimore factory and a year of producing large-scale commissions. 

John Anderson on Washingtonian magazine article on DC galleries

I had my say here a few days ago on the recent article in Washingtonian magazine on DC art galleries.  Below is what former DMV art critic, artist, art historian, and curator John Anderson adds to my observations:

I’m going to argue your point about the halcyon days, Lenny, and say it was during the 1970s..There were about 120 galleries in DC (not DMV) at one point, and GREAT coverage in the Post and Star. (I can’t recall if Washington Daily News was still active, or the Virginia Morning Sun; the area had 4 dailies going into the 1960s, though). Hopps was absorbing DC artist works into the NCFA (now SAAM). Slade made the Corcoran healthy (and did so without breaking anyone’s nose). The Phillips was actively exhibiting local artists. The WPA opened and had three floors of crazy going on. The Hirshhorn opened. The NEA supported several area artists. There were the women’s artists conferences. The Bicentennial. Artists fighting for rights on The Hill. Rockne was shooting his lasers everywhere. The Art Now (1974) scandal. Yuri Schwebler’s Sundial. Exciting times! I won’t disagree that the 80s, 90s, 00s were all interesting, exciting, or brimming with potential. But I think the 70s was peak awesome in DC art history, and it was predicated by a scene that was growing in the 1950s and 1960s (something Andrew Hudson recognized in an exhibition he curated for the Edmonton Art Gallery in 1970, and something another curator in Baltimore recognized for a similar exhibition at the BMA: both opening in 1970, I believe).

It’s unclear from Bourland’s historical synopsis if he deemed the 70s as the hay-day, since he folds the 50s-60s Color School (WCS) in with Protetch, Moyens, Henri, etc... However, the omission of the Jefferson Place Gallery (JPG) struck me as interesting. I mean, if he’s going to mention WCS, he may as well credit the gallery that, at one time, supported Noland, Davis, Downing, and Mehring (the latter of which exhibited at the JPG at least through 1971). If he is going to mention Gilliam, again he may as well mention the JPG since Gilliam showed there from 65-74. In fact, every artist Bourland mentioned had some connection to JPG, whether being represented by or, in the case of Louis, eschewing invitation to do so.

The mention of “hard-edged abstraction of the Washington Color School anchored by Louis and Gilliam” also made me laugh. I mean, those are the two guys who are least hard edge (minus Gilliam’s first stripes). Come to think of it, Noland’s targets weren’t all that hard-edged, and Mehring’s best work—his dappled all-overs—also defied hard edges. The three who were most consistently hard edge were Downing, Davis, and most especially Truitt! Can’t get much harder-edged than the side of a rectangular prism.

There are other issues with his historical truncation, which make me wonder if it was just slap-dash editing, or some concession to word count. For instance, why was Bill Christenberry lumped in with the Color School guys? His stuff seems charged by memory, place, nostalgia, and time. In other words: content... which is something that isn’t present in a lot of the WCS stuff (although, Paul Richard will argue that Noland was doing targets because he was driving around L’Enfant’s traffic circles in his cabs way too much… and I really like that read!). When I think of Christenberry I think of photographs that follow in the footsteps of Walker Evans (at times, literally), his haunting Klan stuff, and ink drawings of pear trees. Maybe his assemblages of license plates and tin roofs were informed by WCS, but I think such a connection is a big stretch.

Also, Walter Hopps’ Washington Gallery of Modern Art? Hopps was the fourth director (5th if you count the hot minute Eleanor McPeck held down the fort between Breeskin’s resignation and Nordland’s appointment), and held the post for a smidgen over a year. Yes, he was doing great things. Great big expensive things. It’s partly why the Corcoran bought the property: WGMA couldn’t afford it any longer. Fortunately the Corcoran  had the sense to let Hopps continue doing interesting things there through late 68 and into 69. But, while Hopps may have had the most interesting tenure as director, WGMA was doing interesting things from its founding… back in the days when Alice Denney and Julian Eisenstein took their bar napkin sketch for a museum in 1960 and turned it into a museum showing a Franz Kline memorial retrospective in 1962. And then the Popular Image show, and Pop Festival months later. And, were it not for the Stern Family Foundation, everything that came before, during, and after Hopps wouldn’t have been possible: where’s Leni Stern’s credit?

What I think Bourland’s piece misses isn’t so much how a whimpering boom of three new galleries in the area can possibly excite the scene. Yes. It’s good they’re here. Quite possibly it creates an opportunity for a few area artists to show their stuff. Maybe, if those galleries are lucky, DC collectors will buy from them, too! And, while art is certainly a commodity, it is also one of the humanities. Art galleries are places that can ground us, give us insight into worlds unfamiliar to us, and spark meaningful changes in perception and opinion in the people who visit them. And that can lead to profound actual change in Washington. Were it not for the Jefferson Place Gallery, and the lectures and openings that John Brademus attended, perhaps he wouldn’t have been as successful whipping votes to make the NEA happen. Unfortunately, such touchy-feely things don’t pay the bills. But in a town experiencing such rapid change, having more galleries is a way to reconnect people to a variety of ideas in non-literary ways. Hopefully these three galleries, those that preceded them, and those that come to follow, will inspire.

And, God-willing, they all sell some stuff to go over a bunch of couches so that they can keep the lights on.

152 works by African American artists donated to Howard University

An art collector and widow of a former Howard University professor has donated 152 works by African American artists to Howard University. The collection, valued at $2.5 million, includes some of the earliest surviving works by African Americans in this country.

Read the story by Mikaela Lefrak here. 

Gustav Klimt painting found inside a wall!

A painting found hidden in an Italian gallery in December is an authentic Gustav Klimt piece stolen almost 23 years ago, experts have confirmed.

Details here. 

The curious case of the new Space Forms uniforms

I don't know which Einstein designed this uniform, but I’m pretty sure that camouflaged uniforms will not work in space... cough... cough...

Washingtonian on art galleries

"Why DC Needs Art Galleries" is the title of this excellent article in DMV area glossy Washingtonian. The article is by Ian Bourland, who is assistant professor of contemporary art history at Georgetown University and an art critic for a range of international publications.

The past year was a good one for DC’s contemporary-art-gallery scene. It saw the opening of three new spaces. Ryan Dattilo, an attorney and collector from New York, launched the pop-up De Novo Gallery in Union Market, while Todd Von Ammon, a well-known dealer who previously worked at New York’s Team Gallery, debuted Von Ammon Co. in Cady’s Alley. And in October, a collective of mid-career Washington artists opened a sprawling studio complex/exhibition space in Northeast DC, named Stable—which fits nicely with both the structure’s equine history and the group’s aim to provide a reliable node for creators.

Bourland does an excellent job of updating the current gallery around the District (not the DMV). He goes back a little too far in history (for my taste) to recount the halcyon days of the DC gallery scene:

Decades ago, before the economic turnaround transformed Washington, it seemed as though the city might be an emerging art capital. The Corcoran School of Art & Design was thriving, and DC boasted the hard-edged abstraction of the Washington Color School, anchored by now-canonical figures Morris Louis and Sam Gilliam.

I note this because... technically the zenith of the DMV gallery art scene (no pun intended with Zenith Gallery, which coincidentally represents my work) was more around the late 90s to mid 2000s, when the number of art galleries of all flavors: independently owned commercial art galleries (such as Conner, Fraser, eklektikos, Marsha Mateyka, Irvine, Davidson, Anton, Robert Brown, Heineman-Myers, Alex, Baumgartner, Alla Rogers, Veerhoff, Neptune, Aaron, Numark, G Fine Art, Hemphill, Addison-Ripley, Littleton, Parish, and others, as well as the highly survivable artists' cooperatives (Touchstone, Studio, Multiple Exposures, etc.), and the non-profits (MOCA, DC Arts Center, etc.), and all the university galleries plus all the embassy and embassy-associated galleries (Mexican Cultural Institute, Goethe, etc.).

Back in those closer to the present and true halcyon days of the DMV art scene, the number of galleries in the DMV art scene exploded, as galleries colonized areas such as Dupont Circle, Georgetown, Bethesda, Alexandria, etc. At one point there were eight galleries in Georgetown's Canal Square alone!

What happened? It's a well-known neighborhood revitalization model: when rents are cheap, galleries and restaurants and other small businesses move in. Then the neighborhood becomes a visit point for the illuminati, and soon the area's attractiveness begins to improve, as do real estate prices.  Within a couple of decades, the franchise stores begin to move in, and a decade later the galleries and small businesses are gone, unable to afford the new rent realities. Bourland is familiar with this model as he writes:

...this is the now-familiar story of gentrification as it has played out all over the country. Artists flock to areas with low rents—say, Brooklyn’s Williamsburg neighborhood or San Francisco’s Mission District—and spearhead a dramatic transformation. Starbucks and Citibank follow, along with rising costs that push artists and experimental spaces farther to the periphery.

What else happened and what is still happening (and I've been bitching about for decades)? The DMV media completely ignores and treats with immense apathy the DMV art scene. I used to complain in the 90s about the press coverage of the local art scene. Little did I realize back then that we were at that zenith in art coverage, when the WaPo had not only a weekly Galleries column which covered the DMV art galleries, but a separate column dedicated solely to area museums plus a weekly column (then written by Michael O'Sullivan) titled Arts Beat, which covered the DMV's art scene. Add to that the weekly gallery review by the Washington Times authored by Joanna Shaw-Eagle, and the Art in America or Art News coverage by Joe Shannon and others... And the multiple freebie neighborhood newspapers which regulalrly covered their area's art galleries: The Georgetowner, the various Gazette newspapers (owned then by the WaPo), Pitch Magazine, Dimensions magazine, etc.

WETA had Around Town on a weekly basis, and the then emerging local cable stations (MHZ TV for one) had regular visual art show coverage.

Bottom line: we were at that zenith as well.

Then the emergence of the art fair model provided the final kick in the balls to the brick and mortar galleries as they discovered that they could move more art, expose more artists to collectors, and even to museums via the good art fairs in one art fair than in ten years in the DMV.  A few, like Fraser and others, valiantly tried to do both for a few years, but eventually most of them closed their physical doors and went virtual all the way.

A shout out to Washingtonian for this article, and a repeat of a question that by my email count I've now asked (and sometimes received answers from apologetic editors) I've asked Washingtonian for decades: Why doesn't Washingtonian have an art review column in each issue?

And one last point: When you cross the street in many places in the DC "box" on the map, now you're either in MD or VA - that's why we call it the DMV (an acronym that I invented by the way)... when pieces are written about the city's art scene, by default it is about the DMV art scene and includes Bethesda, Alexandria, Rockville, Mt. Rainier, etc. In fact there are more artists' studios in Rockville or Alexandria or Mt. Rainier, than in all of DC!

By the way, I've asked those questions multiple times to all other DMV area monthly glossies... and there are a few.

Update: John Anderson has a great opinion here.

Dr. Heran Sereke-Brhan for Nominated for DCAAH Executive Director

Yesterday, at the regular monthly meeting of the DC Commission on the Arts and Humanities (CAH), members voted to nominate Dr. Heran Sereke-Brhan to be the next executive director for CAH.

"This is a historic moment for the Commission as we select our first executive director as an independent agency within the District of Columbia government," said Kay Kendall, Chair of the DC Commission on the Arts and Humanities. "The Commission appreciates the great work that Heran has done during her time as interim executive director. She understands the agency and the challenges of the position from an on the ground perspective, but more importantly, she sees the opportunities for success. Heran is positive in her forward-thinking and is always focused on working as a team to develop the artistic and cultural community, and serving the residents of the District of Columbia." 

Dr. Sereke-Brhan has served as the agency's Interim Executive Director since October 2019, and has been Senior Grants Officer for CAH since July 2017. Prior to joining CAH, she served as Deputy Director for the Mayor's Office on African Affairs. Over the past two decades, Interim Director Sereke-Brhan has worked at a number of cultural and educational institutions, including the Harn Museum at the University of Florida, Addis Ababa University, and the Smithsonian's National Museum of African Art. She holds a PhD in History with a minor in African Art History from Michigan State University.

CAH is the designated state arts agency for the District of Columbia, providing grants and other programs aimed at encouraging progress in the arts and humanities in Washington, DC. The executive director serves as the Commission's chief administrative officer, and is responsible for the daily management of the agency's operations and staff. Over 100 applications for the position were received by Polihire, the executive recruitment firm that assisted in the search. 

The nomination of CAH's executive director is subject to the advice and consent of the Council of the District of Columbia. Dr. Sereke-Brhan will serve as acting executive director until her appointment is confirmed by the DC Council.