The Hotel Room Art Intervention Project

For PLANNING PROCESS at the Arlington Art Center, I've tried to re-create a hotel room (and I am very grateful to the Hilton Garden Inn Rockville-Gaithersburg and to the Hilton Garden Inn Washington DC Downtown for loaning me all the various hotel peripherals used in this installation). Both of these hotels are gorgeous and their rooms look nothing like this installation, and in fact, they are decorated with real artwork from local artists.

Below you can see what my hotel room installation looks like so far...

Note that one piece of the "wall decor" has been removed from the "hotel room's walls" and is on the bed, waiting to be intervened upon...




And here it is, waiting for the magical transformation from wall decor to fine art; this transformation will be taking place throughout the exhibition, although typically I do this all in one night in a real hotel room.

“PLANNING PROCESS” as well as the concurrent exhibition “Damsels & Daemons” are on view June 22 – Sept 25, 2011. The opening reception for both shows is tomorrow, Thursday, June 23, 7 – 9 pm.

See ya there!

Arlington Art Center
3550 Wilson Boulevard
Arlington, VA 22201
703-248-6800

Go to this opening tomorrow!

For PLANNING PROCESS at the Arlington Art Center, juror Helen Allen — formerly of PULSE art fairs; currently planning D.C.’s first-ever (e)merge art fair, opening this September — selected 12 artists from across the mid-Atlantic region who were willing to reveal the ways they think and problem-solve in the studio (or in my case, in a hotel room).

The artists below (including yours truly) will exhibit preparatory drawings, computer models, and even notes scribbled in the margins of newspapers next to the finished artworks those starting steps inspired—including traditional paintings, sculpture, installation, earthworks, and even neon.

“PLANNING PROCESS” as well as the concurrent exhibition “Damsels & Daemons” are on view June 22 – Sept 25, 2011. The opening reception for both shows is this next Thursday, June 23, 7 – 9 pm.

Andrew Wodzianski shows a portrait project in which he compares members of his family to the crew of the Pequod in “Moby Dick.”

John James Anderson reveals his scheme to print blank newspapers as a prank—and how this ultimately led him to erasing the front pages of found newspapers by hand.

F. Lennox Campello offers a mock-up of a typical hotel room in order to demonstrate his ongoing project: defacing (and thereby improving) the tacky hotel art he encounters whenever he’s on the road.

R.L. Croft shows large-scale metal sculpture next to one of the R. Crumb-like pen and ink drawings that inspired it.

Craig Kraft reveals how he transforms notes and careless doodles in the margins of newspapers into wall-filling neon sculptures.

Magnolia Laurie uses her quirky pictorial language—referencing makeshift structures, natural disasters, and rubble—to create related works in recycled paper, foam, tiny pen-and-ink drawings and large finished paintings.

Jessie Lehson transforms one of AAC’s experimental galleries into a sort of giant soil mandala: an ephemeral meditative space composed with minimalist-inspired patterns.

Ephraim Russell tracks his own movements using his own homemade hand-held GPS device—and uses that data to create various drawings, printouts, and videos.

Samuel Scharf invites viewers into an unexpected encounter with deep saturated color in a small enclosed environment—an 8 foot cube with a small doorway and a lone LED lightbulb inside.

Dan Tulk creates giant minimalist grids directly on the walls of the gallery using threaded rods, string, and brightly colored yarn.

Jessica van Brakle creates hybrid graphic black and white images in which sublime landscapes are dominated by giant construction cranes.

Tom Wagner shows through a series of four studies how he melds images of contemporary architecture, figures from renaissance art, and the energy of Futurist painting.

Gallery hours: Wed – Fri, 7 – 9 pm; Sat + Sun, Noon – 5 pm

Arlington Art Center
3550 Wilson Boulevard
Arlington, VA 22201
703-248-6800

Sondheim Prize: Bet on Mark

A while back, five artists (two photographers, a sculptor, a film director, and a multimedia artist) were selected to compete for this year's $25,000 Janet & Walter Sondheim Artscape prize.

The five are Baltimoreans Stephanie Barber (multimedia), Matthew Porterfield (film) and Rachel Rotenberg (sculpture), and Washington area photographers, Louie Palu and Mark Parascandola.

The Baltimore Office of Promotion and the Arts and the Baltimore Museum of Art (BMA) will present a special exhibition of the five 2011 finalists at the BMA. Finalists’ works will be exhibited in the Alvin and Fanny Blaustein Thalheimer Galleries of the BMA from Saturday, June 25 through Sunday, August 7. The winner of the prize will be announced on July 9.

My bet? Mark Parascandola; for the competition he will:

For the competition, Parascandola presented his current body of work: photographic prints of abandoned constructions in Almeria, Spain. Almeria was discovered by European and American filmmakers in the 1960s, when they began using the area for building its impermanent backdrops and fake towns. “Lawrence of Arabia” and Sergio Leone's spaghetti westerns, for example, were filmed there. The artist is connected to the area through his mother’s family. Because of this personal attachment, he is compelled to document its stark desert landscape.

On exhibit at the Baltimore Museum of Art will be 12 photographic prints, chosen by Parascandola, mixing images of the western movies sets along with some images of the surrounding landscape and more recent constructions to provide context. The larger pieces are constructed from multiple images to create a single panoramic image.

The show will examine two atypical versions of the ghost town. Today some of the elaborate movie sets remain in the desert. While select few have been fixed up for tourists, others remain largely in ruins. The artist is also presenting his works that examine the empty residential enclaves and vacation developments along the Almerian coast. These properties were abandoned or left empty after the economic crisis and real estate crash.

Go Mark!

Opportunity for PG County Artists

Deadline: July 22, 2011

The Brentwood Arts Exchange is pleased to announce The Sky's the Limit, the 2011 Prince George's County Juried Exhibition. Download the prospectus here.

Photographic imagery is ubiquitous in nearly every aspect of our lives, from billboards, to cell phone videos, to keepsake albums, to Facebook profiles. It's no coincidence that it is just as pervasive throughout contemporary art - even in media that are often thought of in stark contrast to traditional photography. The Sky's the Limit presents a glimpse of the ways photography employs itself throughout the visual arts, here and now. Juried by Michael Platt, the exhibition presents the best photo-inclusive art by artists who live, work, or study in Prince George's County. Hosted in the Gateway Arts District for the second time, this Prince George's County Juried Exhibition is our chance to show off the important contributions that artists in our county make to contemporary art throughout the region.

APPLICATION DEADLINE - July 22, 2011
All submissions must be received by 5:00pm

PURCHASE AWARDS - Over $2,000

The Sky's the Limit will feature two purchase awards totaling over $2,000. One award will be presented by the Prince George's Arts Council, and one will be presented by the Prince George's County Department of Parks and Recreation, M-NCPPC.

DATES

Deadline for receipt of entries: July 22, 5pm
Notification of selected works: August 1
*All notifications will be sent by email.
Artwork drop-off period: August 15-19
Exhibition Opens: September 5
Opening Reception: Saturday, September 10, 5-8pm
Exhibition closes: October 31 Artwork pick-up period: November 3-5

Why Do I Need A Lawyer?

The Smithsonian Anacostia Community Museum (ACM) will be holding a two-part forum with the Washington Area Lawyers for the Arts (WALA), called “Why Do I Need A Lawyer?”.

The First Forum : Common Legal Issues for Writers and Visual Artists, will be held on Tuesday, June 21 at 7pm

The Second Forum : Common Legal Issues for Emerging and Existing Creative Businesses, will be held on Tuesday, September 13th at 7pm.

These valuable panel discussions with Q&A sessions include a brief presentation on common issues and pitfalls attorneys regularly see with their creative business clients. Targeting both emerging and existing entrepreneurs, this event can help you protect your creative endeavor and watch it grow. Bring you pads, pens and plenty of questions for our legal experts. Co-sponsored by the Washington Area Lawyers for the Arts.

The ACM is located at 1901 Fort Place, SE Washington, DC 20002. Parking and admission is free!

Another one closing?

I hear that another Bethesda gallery is closing... let me confirm it from them.

Sandra Ramos at the NGA

Please join the NGA's Michelle Bird on Tuesday, June 21, for the next program in the “Works in Progress” series “More Than 90 Miles Away” where her guest will be Sandra Ramos. The program will take place at 12:10 and 1:10 in the East Building of the National Gallery of Art Small Auditorium.

Like all the artists in the series, Sandra Ramos lives and works in Havana. Primarily a printmaker, she uses a variety of media to explore issues related to the recovery of both an individual and collective memory. Blending memorabilia from past events, real and imagined, personal and historical, the artist creates a phantasmagorical new world from the "ruins of a utopia." In this world, forbidden topics such as migration, marginalization, and the political manipulation of history become the quotidian subjects of her art. The main protagonist, a character that fuses her own self-image with that of a print of a 19th–century Dutch princess, navigates her way through the complexities of life on the island like a postmodern Alice in Wonderland. Floating somewhere between the foreground and background, the figure is not fully integrated into her surroundings, but exists in the intervening space of her environment and circumstance. As a result, Ramos' art is not solely autobiographical, but bears the weight and vulnerability of the island and its people.