Glitch: An Exploration of Digital Media

Exhibition Dates: May 27 – July 9, 2017
Reception: June 8 • 6 – 8pm

The newest exhibition in Target Gallery, the contemporary exhibition space for the Torpedo Factory Art Center, explores emerging technological and interactive media in art. Glitch: An Exploration of Digital Media features the work of 11 artists from across the country, five of whom are from the region. Adriel Luis, curator of digital and emerging media at the Smithsonian Asian Pacific American Center, juried the show.


“Ever since the invention of fire, humans have approached technology with intrigue, bewilderment and audacity – sometimes all at the same time,” said Luis. “The work submitted for this exhibit presented a treasure trove of ways that artists attempt to tame this flame. I learned that technology and media-based art is not merely a genre or medium, but rather a layer of reality that will inevitably become present in all forms of creative expression.”


The work on view in Glitch shows the complex—and sometimes messy—relationship between emerging technologies and basic human communication. Technology can be an obstacle, a distraction, or a placeholder for storytelling. For example, in Sasha de Koninck’s Zeroes and Ones, each jacquard weaving has musical compositions embedded into them. Viewers can play preprogramed compositions or create their own arrangements based on where they move and direct the camera on the accompanying tablet device.


“I chose works that insisted on telling their tales in spite of these challenges,” said Luis. “The works presented here may demonstrate new ways of looking at media, but more importantly, they are new ways of looking at ourselves.”

The participating artists are:

Jill Burks, Cambridge, NYEric Corriel, Brooklyn, NYSasha de Koninck, Santa Monica, CA
Alexis Gomez, Dumfries, VAEd Grant, Brooklyn, NY
Maxim Leyzerovich, Washington, D.C.Tracy Miller-Robbins, Westerville, OHJohn Mosher, Salisbury, MDZach Nagle, Minneapolis, MN
Lyric Prince, Arlington, VA Kaylah Waite, Hyattsville, MD 

VMFA appoints new Modern and Contemporary Art Curator

From VFMA:

Valerie Cassel Oliver has been named the Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. A curator with a proven eye for emerging artists and the integration of new disciplines with traditional art forms, Cassel Oliver was selected after a comprehensive national search. She will join VMFA on July 7, 2017.

Cassel Oliver comes to the museum from the Contemporary Arts Museum Houston, where she rose to the position of senior curator during her 16-year tenure. Her experience includes co-curating the Whitney Museum of American Art’s Biennial Exhibition in 2000; directing the Visiting Artists Program at the School of the Art Institute of Chicago; and administering grants as a program specialist with the National Endowment for the Arts in Washington, D.C.

“Valerie is one of the most dynamic and respected contemporary curators in her field,” said Alex Nyerges, VMFA Director. “She brings an impressive network of contacts from across the arts community, and she has an established record of organizing exhibitions that explore topical themes that resonate with viewers. Now, in her new curatorial role at VMFA, she will have the resources to apply her talents in building our museum collections. Based on her previous experience, as well as her curatorial vision, she will undoubtedly push the institution in exciting new directions.”

Cassel Oliver’s first priority at VMFA will be to review the modern and contemporary art holdings, and develop a collection plan. A primary focus for her acquisition strategy, in line with the museum’s strategic plan, will be to add more works by African American and African-diasporic artists. Indeed, VMFA’s commitment to diversity, both in its staff and collections, encouraged her to apply for this position.

“I look forward to working in partnership with Alex, Michael, and the entire curatorial team to open up the canon to include not just African American and African-diasporic voices, but many different voices,” Cassel Oliver said. “There are artists from myriad social and cultural backgrounds who are not fully represented in today’s art world, and we need to ensure their stories are part of the rich narratives we bring to life in our museum. I bring a perspective of inclusivity, and I want to create a context that engages a public that can see itself reflected in the museum. Doing so allows the discussions around art to be broader and only serves to make the entire field stronger.”

At CAMH, Cassel Oliver conceived and orchestrated numerous group exhibitions that generated greater audience engagement by extending the artist’s reach beyond traditional institutional walls. Radical Presence: Black Performance in Contemporary Art (2012) tracked black performance in the visual arts since the 1960s. This groundbreaking exhibition toured nationally until 2015. An earlier exhibition, Cinema Remixed and Reloaded: Black Women Artists and the Moving Image (2008), which she co-curated with Andrea Barnwell Brownlee, was nominated for the prestigious AICA (International Association of Art Critics) award in the digital media, video or film category and was later presented at the 11^th Havana Biennial in 2012. She also organized Hand+Made: The Performative Impulse in Art and Craft (2010), a CAMH exhibition that featured works by Virginia Commonwealth University alumni and faculty including Sonya Clark.

Other key exhibitions she has curated include Splat Boom Pow! The Influence of Cartoons in Contemporary Art (2003); the acclaimed Double Consciousness: Black Conceptual Art since 1970 (2005); and Black/White Noise: Sound and Light in Contemporary Art (2007). She also has organized several major retrospectives and single-artist exhibitions: Born in the State of FLUX/us (2010), which was devoted to the work of Benjamin Patterson, a contrabass musician, long-time arts administrator and founding member of Fluxus; the survey Donald Moffett: The Extravagant Vein (2011); Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing (2014); Compilation (2015), a retrospective of work by sonic and visual artist Jennie C. Jones.; and most recently, Everything and Nothing (2016), a 10-year survey of work by painter and sculptor Angel Otero.

“Valerie has a reputation for getting to know artists through numerous studio visits and conversations that build trust and respect with them,” said Dr. Michael R. Taylor, Chief Curator and Deputy Director for Art and Education. “Artists such as Trenton Doyle Hancock, Jennie C. Jones, and Benjamin Patterson have opened up to her in a way that they might not with other curators. That’s been a hallmark of her curatorial work. In her exhibitions, the viewpoint of the artist comes first.”

“This VMFA appointment is a wonderful opportunity to begin a new chapter in my curatorial career,” Cassel Oliver said. “Recent, considered acquisitions have positioned VMFA for sustained dialogues in contemporary art. I’m excited to continue that conversation, thinking not only of the current collection and the legacy of these works from a new perspective—a perspective that takes into account my own imprint through new acquisitions and exhibitions.”

At the same time, Cassel Oliver noted that contemporary artists are continually pushing traditional definitions of art, in part with the integration of new media and approaches to art making. “I’m particularly interested in artists who are constantly evolving in the studio and who are employing multiple strategies,” she added. “Artists today move in and out of different mediums, and they never sit in one place. There is a constant need for innovation and experimentation in the studio.”

Sonya Clark, Chair of Craft and Material Studies at VCUarts, praised Cassel Oliver’s appointment. “Richmond’s history is an American story and, in fact, a global story. What we do here in the arts and how we do it is impactful locally, nationally, and globally,” she said. “I’ve known Valerie for almost 20 years, and her approach is a model for the art community. She is artist-centered, committed to inclusion, globally connected, and well-respected. Valerie’s appointment as the Curator of Modern and Contemporary Art at the VMFA comes at a pivotal time in our history. I’m absolutely thrilled she will be joining us in Richmond.”

More about Valerie Cassel Oliver
After earning her undergraduate degree from The University of Texas at Austin in 1987, Cassel Oliver completed her master’s degree in art history at Howard University in Washington, D.C. in 1992.  In 2009, she was a fellow at the Center for Curatorial Leadership in New York through which she received a certificate in executive management from Columbia University.

Cassel Oliver started her career at the National Endowment for the Arts, where she managed a combined $1.5 million portfolio in the Expansion Arts Program from 1988 to 1995. The next year, she joined the School of the Art Institute in Chicago, where she directed administrative and curatorial functions for the visiting artists program presenting national and international artists. She joined CAMH in 2000 as an associate curator, becoming full curator in 2006, and, in 2010, moved into the senior curator role, where she assisted in shaping and articulating the museum’s curatorial vision.

In 2011, the High Museum of Art in Atlanta presented Cassel Oliver with The David C. Driskell Prize, named for the renowned African American artist and art scholar. This distinguished award recognizes individuals who have made an original and important contribution to the field of African American art or art history.

Among her additional accolades are serving as this year’s Senior Fellow for the curatorial studies program at the School of the Art Institute of Chicago; the Carol and Arthur Goldberg Foundation To-Life Visiting Curator at Hunter College in 2016, and being named to the YBCA 100 by the Yerba Buena Center for the Arts in San Francisco in 2015. In 2007, she also was a non-resident curatorial fellow at the Los Angeles-based Getty Foundation, where she continued her scholarship on Benjamin Patterson. Cassel Oliver has also published widely and lectured extensively throughout her career.

Cassel Oliver’s first exhibition project at VMFA will be a retrospective for the acclaimed African American artist Howardena Pindell, which she is co-curating with Naomi Beckwith at the Museum of Contemporary Art in Chicago. It will open at VMFA in January 2019. When she asked Michael Taylor for his opinion on future projects at VMFA, he gave her one directive in developing new exhibitions: “Go big.”

Performing the Border at AU

The borders that separate people and things are constantly changing, and quite often completely arbitrary, yet the importance placed on them would seem to suggest otherwise. Featuring Washington artists Clay Dunklin, Amy Lin, Susana Raab, Jenny Wu, and the artist collective Street Light Circus, the works in Performing the Border explore the concept of borders and boundaries, both the ways we perform within them, and the way those borders are often themselves a performance.

At AU and curated by Megan Parker.

Opening ReceptionJune 17, 6-9 pm

Remembering an elegant tree

A year ago my courageous mother died... this is my eulogy from that day:

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

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

If my father was an oak, then my mother was an equally strong, but also very pliable, and elegant tree.  When hurricanes attack the 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!

Call For Original Art for VCU CMH Hospital

Deadline: July 1, 2017


The call is open to all artists 18 and older living in Virginia and North Carolina. The art selection panel will consider diversity as one factor in the selection process.


TYPES OF ARTWORK

1. Drawings, paintings, collage, prints, digital art and wall mounted sculpture
2. All work should be “hospital friendly,”
3. Nature, natural elements and health are the underlying themes of the building.
4. Cultural diversity in subject and content.
5. Contemporary art that stands on its own, and with a theme that unifies.
6. Proposals for commissions will be accepted

All the details here!

The Business of the Arts - You're Invited!

From the DC Commission on the Arts and Humanities:

Topic: Marketing Techniques for Streamlining and Optimizing Your Social Media Outreach
Join us for an interactive workshop with Sarah Massey of Massey Media. Get tips on building your online brand, creating an ongoing online engagement plan, and selecting the right software to streamline your outreach. 

 

Monday, June 12, 2017
6:00 pm - 8:00 pm 

Location: 441 4th Street NW, Ste. 1117, Washington, DC 20001

Metro: Judiciary Square (Red Line)

RSVP via Eventbrite

 Facilitator: Sarah Massey, Principal & Owner of Massey Media 

 For more information or to request a reasonable accommodation, contact Kali Wasenko at Kali.Wasenko@dc.gov or (202) 724-1445 by Monday, June 5, 2017.

Call for Artists

Deadline: Friday, June 16, 6:00 P.M.

From Zenith Gallery:

RESIST
Re-Invigorate and Express Your Views, Thoughts and Concerns

This summer we present an exhibit titled RESIST in honor of the latest resist movements captivating the globe. We invite professional artists to submit works that interpret and reflect on the state of our world today. What has surfaced in your work, what do you need to express and protest? Have you traveled to join marches, made new connections? Whether inspiration or actual scenes – be it the Women’s March, the March for Science, Climate Change, No DAPL, Education, Air Quality, GMOs – How are these times making you feel? What is happening to our democracy and our government and the people in our city, nation and world?

Submissions Deadline: Friday, June 16, 6:00 P.M.

To Submit:
· Professional artists: send 1-5 images of each work at 72dpi resolution, but please have 300 DPI available. Each artist may submit up to 5 works total.
· CV, Artist Statement.
· Maximum height for wall art: 48” x 48” x 3”, free standing sculpture: 50lbs
· All work submitted must be gallery ready to install (hardware on back, all artwork must be signed, dated, and labeled)
· Artist is responsible for all shipping and insurance expenses (all shipped works must contain a return shipping label) or dropping off/retrieving work within announced timeframe.
· Fee: $35 for up to 5 artworks to the Zenith Community Arts Foundation. 501 C-# Non Profit, 1429 Iris St., NW WDC 20012

· Apply online at zenithgallery.com

First Prize winner will receive $450, Second Prize, $350, and Third Prize winner will receive $250. All submitted artists will also be judged for possible permanent representation with Zenith Gallery.

Zenith Gallery: Zenith has established deep roots in the nation’s capital and with artists and collectors across America. Throughout our history, we’ve pushed boundaries and broken ground with an ever-changing selection of paintings, sculpture, neon, photographs, tapestries and mixed-media pieces that stimulate, engage and have profoundly enhanced our clients’ residential, corporate and public-space environments. Long at the forefront of the Washington arts scene, we seek out and feature exceptional artists at varying stages of their careers. Many have been with us for 30 years and are now well-known and established, while others are young bright lights on the horizon. We help our clients articulate their needs based on budget, aesthetic preferences, and space ramifications of all sizes. Our main goal is to provide a service that works with the client to find art that fits the look and image they would like to convey.

The Obsessions of F. Lennox Campello

Here a short video documentation of my current show at Artists and Makers Studio II in Rockville, MD. The show runs through June 29.

The Opening is tonight!

Thank you to the Washington Post's Going Out Guide gang for mentioning the opening(s) taking place today at Artists and Makers Studios! See it here.


Artists & Makers Studios II
Main Gallery (room 217)
12276 Wilkins Ave
Rockville, MD 20852
(240) 437-9573

Some early press here: https://oldtowncrier.com/2017/04/27/6186/amp/


Note: The Sangria once dubbed "The best Sangria in the DMV" back in the days when I used to be the co-owner of the Fraser Galleries will make a return comeback at the opening!

Transformer turns 15!

In gallery years, 15 is like a 100! Congrats to Transformer!

Dear Friends of Transformer, 

This summer marks Transformer's 15th year as a unique conduit for emerging visual artists and contemporary art audiences!  

As announced recently in The Washington City Paper, we are celebrating the 'quinceañera' of our artist-driven mission to connect & promote emerging visual artists and experimental ideas with the introduction of several exciting projects, and the expansion of our innovative programming.  We are thrilled to share further details of these new initiatives with you here.

We invite you to celebrate these happenings and our 15 year anniversary with us this summer - at our 1404 P Street, NW project space, at the Hirshhorn, and at the beach in Asbury Park, NJ - and to further your support for Transformer as we continue to build distinctive partnerships and opportunities that propel emerging visual artists in their creative and professional development.

Transformer knows we could not do our important work advancing contemporary culture without YOU: our growing community of artists, collectors, donors, arts organizers, emerging contemporary art enthusiasts and friends.  THANK YOU for your continued support!  

We look forward to seeing you this summer!

Victoria Reis

Co-Founder, Executive & Artistic Director

victoria@transformerdc.org

Opportunity for Artists and Curators

Deadline: June 3, 2017


The New Art Center's Curatorial Opportunity Program (COP) supports independent curators of contemporary art by making diverse visions possible in a non-profit and alternative exhibition space. The program investigates contemporary culture through the visual arts, exhibits strong curatorial voices, and encourages the timely examination of new ideas and perspectives.

The New Art Center (NAC) are currently accepting curatorial proposals for 5- to 6-week group exhibitions from September 2018 – May 2019 at the New Art Center in Newton. We will only accept electronic submissions received before June 3, 2017.

Details here.

This Friday in Rockville: Start planning for this opening

Big Announcement!

I will be having my first solo show in the DMV in over 8 years! Mostly because lack of (a) time (new father again) and (b) creating work for the art fairs and (c) selling it there.

And it will be at an amazing space!!!!

The opening will be June 2nd from 6-9pm, and the exhibition runs through June 29th, and will be at the very hardworking Judith Heartsong's Artists and Makers Studios 2's main gallery (Room 217)!

Artists and Makers Studios 2
Main Gallery
12276 Wilkins Avenue
Rockville, MD 20852

Here are some the works that will be on display - See ya there Friday - RSVP here!

Frida Kahlo in a Cross of Clouds (Version II)
Charcoal, conte, mixed media on Unfired Bisque
9x7x3, circa 1980-2017

Frida Kahlo in a Cross of Clouds (Version I)
Charcoal, conte, mixed media on Unfired Bisque
7x7x3, circa 1980-2017

Mermaid (The Deep)
Charcoal, conte, mixed media on Unfired Bisque
7x4x3, circa 1997-2017
Pre-Sold - Soon in a private collection in Santee, CA

An Unmarried Woman
Charcoal, conte, mixed media on Unfired Bisque
9x4x3 inches, c.2017

Dancin Always Did the Trick
Charcoal, conte, mixed media on Unfired Bisque
3 x 2.5 inches, circa 2017

A Woman Falling from the Sky
Charcoal, conte, mixed media on Unfired Bisque
4.25 x 2 x 2 inches, circa 2017

Supergirl Flyng Naked
Charcoal, conte, mixed media on Unfired Bisque
1.75x 4.5 x 2 inches, circa 2017

Life was always a balancing act
Charcoal, conte, mixed media on Unfired Bisque
3 inches round x 1 inch,, circa 2017

Castrum Canis (Ernesto Guevara de La Serna Lynch)
Charcoal, conte,on Unfired Bisque
2.5x4x0.75 inches, 2017

La Frida
Charcoal, mixed media on Unfired Bisque
3.5 round x 4 inches, circa 1997-2017

Gym Rat
Charcoal and conte on Unfired Bisque
4.5 x 2,5 x 1 inches, circa 2017

Che Guevara (Castrum Canis)
Charcoal, conte, mixed media on Unfired Bisque
4.5x3.25 inches, circa 2017

Obama Laughing
Charcoal, conte, mixed media on Unfired Bisque
5x3 inches, circa 2017

Next Year in Jerusalem
Charcoal and conte on Unfired Bisque
5.5x4.5x3 inches, circa 2017

Obama The Day After
Charcoal, conte, mixed media on Unfired Bisque
1.25 x 2 inches, circa 2017

A Man Begging
Charcoal, conte,on Unfired Bisque
 3x3.5x2 inches, circa 2017

Suddenly, She Figured Out How to Break Her Chains
Charcoal, conte on Unfired Bisque
4x4.75x1 inches,  circa 2017

The Devil... After he came back from Georgia
Charcoal, conte on Unfired Bisque
5x6x2 inches,  circa 2017

Your Portrait in a Gallery of Portraits
Charcoal, conte, live video, still digital images
 12x36 inches, circa 2017

Channeling Jackson Pollock (A Campello Within a Pollock)
Oil on Gessoed Paper and Embedded Looped Video
 circa 2013

The Batman Brooding
Charcoal, Conte and Embedded Appropriated Looped Video
 circa 2013

Fallen Angels
Charcoal, Conte on Paper
 36x12 inches, circa 2014

Cuban by Ancestry, but American by the Grace of God
Charcoal, Conte and Embedded Video
18x24 inches, circa 2017

Woman Falling from the Sky
Charcoal, Conte on Paper
12x5 inches, circa 2014

T-Shirt God (The True Che)
Charcoal, Conte and Embedded Still Imagery
 circa 2012

Judith with the Head of Halofernes
Charcoal, Conte and Embedded Digital Imagery
 circa 2012

The Batman Brooding (Version II)
c. 2015, Charcoal on Paper, 12x36 inches

"Obama as Atlas"
Charcoal, circa 2006-2014 Framed to 20x16 inches (Updated Yearly)

"Spiderman Naked"
Charcoal on Paper
30x8, circa 2013

"Woman Bowing Down to Life"
Charcoal on Paper
16x5, circa 2013

And here are some installation shots:

The Planet is a Delicate Thing

The Planet is a Delicate Thing

Experimental Printmaking by ROSEMARY FEIT COVEY

 

Friday, June 16th - July 5th, 2017

 

OPENING DAY RECEPTION

Friday June 16th, 6pm-8pm

The artist will be in attendance.

ARTIST TALK
Saturday, June 24th, 2pm

ROSEMARY FEIT COVEY, Fish, 2017, 72"x60"
wood engraving & painting on canvas

EXHIBITION LOCATION

Morton Fine Art (MFA)

1781 Florida Ave NW (at 18th & U Streets)

Washington, DC 20009

HOURS

Tuesday - Saturday 11am - 6pm

Sunday 12pm-5pm

Wanna go to my solo show?

RSVP here!

Hanging day for my solo

Today was a typical hanging day.

I was hanging for my solo at Artists & Makers Studio 2 in Rockville: I broke a large piece of glass in one of the main pieces, dropped another frame and glass didn't break! But the frame did! Then a third piece, which been pre-sold, fell off the wall... it actually looks more interesting now.

This is the amazing space below:

Call for Proposals

Deadline: June 5, 2017.

1708 Gallery invites US-based and international artists and curators to submit proposals for the 2018 and 2019 exhibition seasons. Applying students must have graduated before their proposed exhibition dates. 1708 Gallery strongly encourages proposals for new or developing projects and bodies of work. In addition to proposals for exhibitions in the 1708 Gallery space, public works and other non-gallery based projects will be considered. Selected proposals will be given an exhibition period of approximately six weeks, a $1000 honorarium, and shipping, travel, installation and exhibition support. 1708 Gallery is committed to providing opportunity and space for experimentation, freedom and artistic growth, while promoting understanding and appreciation of contemporary art. We also support artists’ professional development through creation and facilitation of public or educational programming; interaction with collectors; and engagement with diverse audiences.

Application Fee: $20.

Please contact 1708 Gallery Coordinator Erin Willett with any questions at ewillett@1708gallery.org or 804.643.1708. For more information visit www.1708gallery.org.

To submit a proposal visit https://fs2.formsite.com/1708gallery/form18/index.html

Call for artists

Deadline: June 7, 2017.


Create/Change is an all-media, juried exhibition that will feature work that examines the idea of artist/s as citizens. Artists who, through their work, reimagine the traditional notions of art-making, and who contribute to society either through the transformative power of their artistic abilities, or through proactive social engagement with the arts, advancing equity, empathy, sustainability, and social justice through art and culture. This exhibition is open to all artists living and working in the United States.


To apply visit, https://hillyerartspace.submittable.com/submit/85510/create-change

Art Scam Alert!

Ignore this asswipe mutant Anthony Handy (sgthandybarbara515@gmail.com)... just the old art rip off scheme...

Washington Women's Art Center

Were you a member of the Washington Women's Art Center or know someone that was?

In the summer of 2018, the Alper Initiative will have two juried exhibits that will honor the Washington Women’s Arts Center, the feminist arts organization in the DC metropolitan area in the 1970s - 80s.

They are soliciting work from former members and exhibitors of the WWAC!

 

1)      The first exhibition in the Alper Initiative space will feature work made between 1975 and 1985 to provide a historic context for the WWAC. It will be accompanied by a catalogue.

2)     The second exhibition will feature current work by artists who were former members and exhibitors of the WWAC between 1975 and 1985.

Please visit this website for more information on the exhibitions and the submission process.

 
Because not all submissions will be selected by the juror for physical display at the museum, the museum plans to include a slide show identifying all former members.  Therefore, all former members are encouraged to send a high resolution headshot and image of their work (300 DPI), as well as a short quote about what the WWAC meant to them for inclusion in the slideshow to aiwa@american.edu.

So, please begin gathering your materials and share this information!


Remember to join their WWAC Facebook page, Memories of the Washington Women’s Arts Center.
 

Contact Judith Benderson, former WWAC board member and Managing Director (1983-1985) at judypainter@comcast.net, or aiwa@american.edu with any questions.

How Collectors Use Instagram to Buy Art

According to a recent survey of collectors on Instagram, an incredible 51.5% have purchased works from artists they originally discovered through Instagram. More importantly, this discovery led to an average of 5 purchased works by artists originally found on the app! Although respondents are all active on Instagram, and nearly half have collections of 100+ works, these are significant findings. Collector and social media expert Karen Robinovitz (@karenrobinovitz) commented, “Collecting art is an addiction and Instagram is the dealer and pusher that enables it.” 

Is Facebook’s image sharing platform (valued at $35 billion) the next big sales channel for fine art?

Read the fascinating article by Elena Soboleva here.