Last Nite

I dropped in to the opening of Nevin Kelly's first ever photography show, featuring work by Mark Parascandola and Yanina Manolova.

Considering how brutal the night was, and how icy U Street was, the opening was packed, and while there I ran into the talented artist Scott Brooks and also the ubiquitous Vivienne Lassman.

I particularly liked Yanina Manolova's "Death Time for my Body," a superbly twisted and odd dual body composition of a female body. This photographer's work is sexy and skilled and also a really good deal, as most photos are under $400.

I also liked Mark's visualization of the Alhambra, one of my favorite buildings in the world. His saturated colors really deliver striking images. I'm a little prejudiced, as Parascandola is a graduate of one of our "Bootcamp for Artists" seminars and is obviously doing well with his career in using the lessons learned there.

One for the good guys

I generally give the WaPo a lot of deserved crap over their heinous lack of visual arts coverage. But when the WaPo gets something right about local arts coverage, then they also deserve some credit; today they do.

Bob Samsot, the Editor of the WaPo Fairfax Extra wrote a terrific article about the Gold Key Scholastic Arts Awards. You can read his article here.

Furthermore, I am told that the front page of the Fairfax Extra itself features cover art by one of the award winners - plus, the paper is filled with images of additional award winners. The names and titles of works of the winners are also published here.

I think it's terrific that Bob and the Fairfax Extra published this, and in one day he's given more column inches and images to the local arts news than I've seen in the past couple of years in the Style section of the WaPo!

Opportunity for Artists

Deadline: March 15, 2007

Call to Artists: Drawing Invitational exhibition sponsored by the FSU Museum of Fine Arts, Tallahassee, FL. Media: Drawing. Open to artists 18 and over, no size restrictions. Each artist may submit up to 10 images in slide or jpeg format with a return SASE. Works of art will range from intimate, transitory thoughts in numerous drawing media to finished drawings that are intended by the maker to rival the serious nature of other fine art endeavors such as painting, printmaking, photography, and sculpture. Exhibition is scheduled for October-November, 2007. A catalog will be produced. For more information please contact: Allys Palladino-Craig at 850.644.1254 or apcraig@mailer.fsu.edu.

FSU Museum of Fine Arts
530 W Call St.
250 Fine Arts Bldg.
Tallahassee, FL 32306-1140

Wanna go to a DC Opening Tonight?

The Midcity's Artists' Winter Exhibition at Rseults Capitoll Hill. Opening Reception, Thursday February 15, 6:30 – 8:30 PM - 315 G St. SE Washington, DC. Hosted by Bobby Van's Grille.

Featuring artwork by Chuck Baxter, Joan Belmar, Jeff Code, Robert Cole, Scott Davis, Robert Dodge, Gary Fisher, Glenn Fry, Charlie Gaynor, Charlie Jones, Bridget Sue Lambert, Marc Monteleone, Lucinda Murphy, Betto Ortiz, Mark Parascandola, Byron Peck, Brian Petro, Marina Reiter, Nicolas, Shi, Steven Stichter, John Talkington,
Robert Wiener, Anita Walsh & Colin Winterbottom.

More on Art-O-Matic 2007

Yesterday I broke the news that there will be not one but two AOM's in the DC area this year.

They are getting two floors (the 6th and 8th floor in the Old Patent Office Building in Crystal City) - each floor is 45,000 sq. ft. and one has around 130 offices still walled in while the other one has been gutted.

I've been in this building many times and it is a great location and very easy to get to either by car, bus, subway or even Virginia rail. There are some great views from all the outer walls. The other cool thing about this location is that thousands and thousands of people both work and live right around this area, and I predict that because all of these people live and work there, this will be the largest attended AOM ever. I will predict 80,000 visitors to this art event.

The official AOM announcement will come February 26, 2007, and online registration for artists will start March 5, 2007, so start getting ready!

Keep an eye on the AOM website for details.

Oh yeah... the event itself will run from April 13 through May 20, 2007.

Super Bowl day drawing

Not that I was bored (well, maybe a little), but while watching the Superbowl I doodled the below drawing.

It's a charcoal drawing about seven inches tall by five or so wide on 300 weight white paper.

Carolyn Witschonke: I call myself an Artist

Interview By Shauna Lee Lange, Art Addicts

Lange: You graduated from Marymount College with a BA in French language and literature. Your MA is from Central Connecticut State University in French poetry, and then you went on to earn a BFA from Corcoran College of Art and Design. Recently, you've stated art that is your passion; a very good friend that never leaves. Tell us about the juxtaposition of continuing education, French literature, fine art, friendship, printmaking, and painting.

Witschonke: All these aspects of my life led me to who I am today and to what I choose to express through art. Languages and how words are used to express ideas can be a parallel art form, not just a means of communication. For me, whatever medium I choose to use becomes a vocabulary of expression and communication. Just as I use languages to explore meaning and expression, I use painting, printmaking, and encaustic to visually explore and express meaning. Art has been my friend since I can remember. It has taught me things I needed to know and consoled me at times when a constant friend was needed. Below is Solo Poppy, oil.

Lange: Can you speak to the challenges and the rewards of being a full-time freelance artist? How do you divide your time between making art and selling art?

Witschonke: Being a studio artist is what I have chosen to do full time. It takes lots of time and the monetary rewards are minimal compared to the efforts put forth, but I get to do something I really love. I work in my painting studio in Arlington, or in Printmakers Inc. at the Torpedo Factory Art Center in Alexandria. I rarely sell my work myself; I prefer to use galleries or art spaces. This allows me maximum studio time. Doing this of course means usually paying large commissions to the selling agent but then I don’t have to do both jobs. I do have a website at www.carolyn4art.com.

Lange: Being fairly well traveled and having lived in Germany with adventures throughout Europe, what are some of the subtler ways travel, journey, location, and exposure to European masters helped shape your current work?

Witschonke: My European experiences directly influenced my art, especially printmaking. In my earlier work, the European style of painting and aesthetic is, I believe, evident. Vermeer and Degas especially influenced me. Seeing the various cultures and how people and their mores ultimately manifested into the art and culture of the times influences me even today. The history, myths, and traditions all contribute to my ideas and what I choose to do in my artistic expression.

Lange: As an oil painter and print maker, your recent work focuses on interconnectivity, choice making, and universality of humanity. How do you best bridge the gap between the artist's vision and communicating that vision for juries, competitions, award venues, and the general public?

Witschonke: In my latest show in the Solo Artist Gallery in the Art League, this very subject was its content. With a title and brief artist statement I like to introduce the viewer to my concept. After that, I hope the viewers’ own experiences will enable them to interpret and appreciate my efforts. In creating this series, I was careful to choose materials, and in most cases, colors that have significance enough to support and express my ideas.

Lange: What major differences do you find between exhibiting in 2000 at the Newport Museum of Art in Newport, RI; the '98 - '99 show at the Resurgum Gallery in Baltimore; and the 2000 exhibition in the Bridge Gallery of Dublin, Ireland?

Witschonke: As far as exhibiting in these venues, mainly the logistics presented the most challenges - particularly shipping... very practical aspects.

Lange: When you call to mind the great printmakers throughout time, who most inspires you? Of living artists in the DC area today, who do you expect to see rapidly rise in the art world?

Witschonke: The printmaker that has most inspired me is Jim Dine. As for DC, there are so many fine artists who don’t get much recognition because they are not well known. A sample print entitled Deep Forest Green:



Lange: Your collections span the Library of Congress, The National Institute of Health, and the Philip Morris Companies (quite divergent enterprises). What responsibilities do artists have in monitoring where, when, and how work is exhibited and to what end their personal ideology allows for commercialism?

Witschonke: If my art is purchased for a collection and is bought for its own sake I don’t discriminate buyers. As far as doing commission work directly related to a cause or enterprise, it is up to the individual artist to decide.

Lange: Can you tell us a little about growing up in the small town of Litchfield, Connecticut, and your journey to becoming an artist (how you shifted to art, when you knew you wanted to "art", how it was sharing that vision with family, how it's been to realize the vision, what you're looking to accomplish in ‘07)?

Witschonke: I’ve been lucky. Even though I loved art and did art sporadically as a child, the fine arts were not encouraged as a profession. I studied violin for many years but when it came time to make a career decision, I chose teaching with the concentration in French. I had many youthful and idealistic ambitions. I married at 23 and moved to Germany. Inspired by the setting the need to do art resurfaced. Through the years as a military wife I was able to take many art classes, travel, and visit museums until I ultimately earned a BFA from the Corcoran College of Art and Design. Even though my parents did not support art as a career choice, they were artistic and creative people. Both of my sisters are artistic as well; one works with textiles, weaving and quilting and the other is a painter. It is wonderful to have them to share my art with. My husband has been very supportive of me, especially on two pivotal occasions, the first when I decided to abandon my teaching and concentrate on art and the second when I wanted to attend art school full time and earn a degree. For 2007 I will continue to expand the Passages series as well as print and continue a series in encaustic, From Line to Shape.

Lange: Henri de Toulouse-Lautrec is credited with having said, "You come to nature with all her theories, and she knocks them all flat." Can you speak to your interpretation or experience with this theme?

Witschonke: Ah, nature, the wonders of it. The inconsistencies of it supply us with its mysteries and keep us intrigued and guessing.

Lange: Your love for nature, trees, and flowers, using a variety of mediums and techniques, is well catalogued in your works. It is true today there are a variety of opinions about the reality and the growing concern of global warming, environmental health, and the necessity to save mother Earth. Do you view your work as chronicles of these politics, and if so, how? What differences would you like to effect?

Witschonke: My work is not political. The environment is extremely important to me but does not constitute political commentary in my work. My love of nature comes from more of a spiritual and philosophical basis. Alpha to Omega appears below:

Lange: Carolyn, what new or inventive art related non-profits are you involved in? We are always interested in highlighting causes using art to achieve goals. Lastly, if you could be director of the National Gallery (or other DC National Museum) for one day - what immediate change(s) would you implement? If you couldn't create art, what would you do instead?

Witschonke: I am not directly involved in any innovative non-profits. Printmakers Inc is my closest involvement. Participating with this group at the Torpedo Factory enables me to make myself directly available to the public, informing them about original printmaking processes and art. Having children’s groups and tours are especially rewarding. Many schools are limiting students’ exposure to art and this is an exciting way to stimulate their interest. I really don’t know anything about running a museum so I wouldn’t be able to make a productive change. If I couldn’t create art... hmmm... I am not sure that’s possible!