The Board of the Zenith Community Arts Foundation (ZCAF) is sponsoring its Second Annual Silent Auction Fundraiser Event. 

This year’s Fundraiser will be held on Sunday, May 7, 2017, 5:00-8 PM at The Washington Ethical Society, 7750 16th St NW, Washington, DC 20012.  

They are asking for your support so that they can continue the success of their After School and Community based Arts Programs. These programs include our “Hands On Workshop” (HOW) for the Columbia Heights Education Campus (CHEC), a DCPS program and the Hands On Workshops now under the grantor, for Middle School (12-15) High School (16-18) and Young Adults (18-24).

The curious case of the blowback on the City Paper's Nesbett interview

As first detailed in this post, it all started a while back with DMV artist Barbara Januszkiewicz  noticing and asking a Facebook question about the annual Washington Projects for the Arts fundraising Gala auction (disclaimer: I’ve been part of this auction multiple times in the past). You can catch up on that issue/question here.

Subsequently, and as a result of the nearly 2,000 comments that Barbara’s question received, the Washington City Paper’s freelance scribe Kriston Capps conducted an interview with the WPA’s newish Executive Director Peter Nesbett.  The interview initially missed the key question, but that question was subsequently added in a revised version of the interview, which can be read online here.

I then commented on Nesbett’s answers in this post, essentially noting that Nesbett had missed a golden opportunity to use the Facebook commenting as a perfect way to start a constructive dialogue with the WPA’s artists’ members. Instead he doubled down on his perception that the Janus Facebook post was as triggered as result of Barbara’s personal issues with him, and his public criticism of her work. You can read that post here.

Following the Capps’ interview, the Facebook attention shifted to what many commenters considered Nesbett’s massive foot-in-mouth answer and inexplicable introduction of the race and age card into the discussion.

And not for the first time… cough, cough… DMV artists also began to find issue with Capps’ interview, which many opined only showed one side and failed to present a response from the person (Barbara J) who was essentially being somewhat attacked with claims of aggressive emailing (to Nesbett).

Subsequently a new FB thread focused on Capps and asked:

 Art coverage, Kriston Capps. Some questions.  

Can we talk about Ethical Standards for the Media?

 How do most reporters correct mistakes?

 Are they to be accountable to the public for the fairness and accuracy of in what they write. Should they correct mistakes promptly? Should they take responsibility for decisions and consider the possible consequences of their writing and actions

 respecting the laws of the country and the principles of freedom of the press?

 Should writers who post on blogs could they be providing accurate and balanced reporting, substantiating facts and figures, identifying sources and clearly identifying between fact and rumor?

Criticism of Capps’ article mounted in several comments, as well as some defenders, one noting that:

“There's a lot being asked of a 2000-word interview that earned the author $15 (WCP blog freelance piece fare).

 

At the least you got Nesbitt, on record, outside of Facebook, doubling down on putting his foot in his mouth, and then miraculously sticking a second foot in his mouth.

But, let's not overlook the original substance of all of this: Barbara's legit criticism of the auction, and questions from others on auction functions, to which Nesbitt answered Capps' summary of questions.

Given the response, should future issues occur, I'm guessing the author won't bother with the $15. And everyone will be left wondering, "why is no one writing about this?"

That’s a great point, which shifts Capps’ interview flaws (more on that later) by highlighting the fact that it was via this WCP interview that Nesbett truly stepped on his crank big time.

As I myself noted in the FB comments, I think that the main issue with Capps’ interview is that as soon as (in a "subjective" newspaper article… awright, an “interview”) a point of view (in this case from the interviewee) says something or claims something (or in this case: accuses) about the other side (in this case a person... in the Capps' case Nesbett about Barbara's "aggressive emails") , then one would expect the journo to approach the second person and see about the triggering comment/accusation (is this true Barbara???)

Especially since Barbara’s has stated in various FB comments and separately that this allegation is false, and yet, no one contacted her to verify or get her comments on what Nesbett claims was the main trigger point for the complaint (sour grapes).

It is bad journalism, but arguably passable for just an "interview"by a freelancer done for fifteen bucks… cough, cough.... I can't jump on Capps too much for this... but it is a missed golden opportunity!

Especially when compared to this article in the HudsonValley-Times, where writer Paul Smart does a brilliant job of reporting on Nesbett’s strange experience with the  Woodstock Byrdcliffe Guild.  It is not an interview, of course, but Smart does a damned good job of documenting all the strange allegations against Nesbett as well as his point of view and responses. That article ends with the Guild’s President noting that “It’s frightening for me to think of how many people out there were frightened by his words…”

Now More Than Ever

The Last Picasso

"Picasso" by F. Lennox Campello
Limited edition stone lithograph, c. 1980. 5x5 inches.
Done as an assignment at Univ. of Washington School of Art.

Jobs in the Arts

Assistant Director


The Maryland-National Capital Park and Planning Commission is seeking an Assistant Director at the Brentwood Arts Exchange. Under general supervision of the Director, performs a wide variety of professional work to assist in managing a multi-faceted arts facility that includes a gallery, concerts, youth and adult classes, and fine craft retail. Performs numerous tasks in support of the following job functions: supervises facility operations; participates in planning, organizing and implementing community based arts programs; provides marketing, public relations, and volunteer coordination; assists in exhibition installation; participates in budget formulation; supervises designated staff; maintains administrative records cash reports; coordinates externally and internally to perform special project work in surrounding communities; serves in the absence of director; performs other related duties. Facility operates six days per week. Works varying hours, which may include extended hours, evenings, and weekends.


This is the direct website here.


This is the shorter URL for the job search page, but the job isn’t listed under Arts, it’s only under Facility Management. http://agency.governmentjobs.com/mncppc/default.cfm/


Gallery Assistant


The Brentwood Arts Exchange is seeking a motivated individual who is passionate about the arts for a part time position as a Gallery Assistant. Job duties include but are not limited to the following:
 
· Providing customer service in person and over the phone including retail sales and class registrations
· Assisting with installation of art exhibitions, including basic wall patching and painting, basic art handling and packaging.
· Routine office duties such as, copying, filing, data entry, and record keeping
· Hosting at special events
· Maintaining the cleanliness of all areas of the facility, set up and clean for classes and events


This is an entry-level position with no experience required. The position holder must be able to lift and move up to 25 lbs. and be available to work evenings and weekends. The successful candidate will be outgoing and self-motivated to learn about gallery operations through hands-on work performing the duties above. Positive qualities in consideration for this position include the ability to communicate in Spanish, experience working in a retail environment, knowledge of craft media and techniques, and familiarity with the safe handling of art objects.


Email a resume and a brief cover letter to Phil Davis, Director phil.davis@pgparks.com.

Call for Artists: VSA Emerging Young Arts Program

Deadline: 5/3/17


Apply here


About VSA Emerging Young Arts Program
Since 2002, the Kennedy Center and Volkswagen Group of America have teamed up for the VSA Emerging Young Artists Program, a Jean Kennedy Smith Arts and Disability Program, to recognize and showcase the work of emerging young artists with disabilities, ages 16-25, who are residing in the United States.
Electrify! Theme
Art should excite our senses, awaken our curiosity, and electrify our very being. It has the ability to invigorate and empower the artist and viewer alike, but just as important, art can spark empathy and ignite understanding. We’re seeking artwork that is charged with ideas, art that acts as a conduit for creative reflection on the past, explores the “now,” and invokes a future full of possibility and inclusivity. 
Awards
Fifteen winning artists share a total of $60,000 in awards. Grand Prize is $20,000, First Prize is $10,000, Second Prize is $6,000, and the remaining Awards of Excellence are $2,000 each. Winners will exhibit their selected artwork in a year-long, nationally touring exhibition, and attend an all-expenses-paid professional development workshop in Washington, DC.
Application Process
The applications deadline is May 3, 2017 and winners will be announced in mid-June, 2017. Artwork will be judged by a panel of experts in the field of visual arts who will be looking for artwork that demonstrates a high level of skill, expresses original ideas, and reflects the Electrify! theme. To request an accommodation or receive the application materials in an alternate format, contact Anne-Marie Walsh, awalsh@kennedy-center.org, at least two weeks prior to the submission deadline.
Eligibility
- Artist must be between the ages of 16 and 25 on May 3, 2017 at 11:59 pm.
- Artist must reside in the United States.
- Artist must have a disability as defined by the Americans with Disabilities Act. Note: artist must be comfortable identifying as a person and artist with a disability.
Selected applicants will be asked to submit documents proving the above eligibility requirements prior to advancing to round 3 of adjudication. Eligibility documents include the following:
Proof of disability
This is usually a letter from a doctor or other healthcare professional identifying the applicant’s disability(s). The document does not have to be recent but must state the nature of the disability. Other proof of disability is accepted, such as a statement from a reputable disability association or organization, professional counselor, Individualized Education Program (IEP) documents, or a letter from the head of the IEP team.
Proof of Age
Provide a copy of a government issued ID, such as a passport, birth certificate, or driver's license. To be eligible you need to have been between the ages of 16 and 25 on May 3, 2017.
Proof of US Residence
You do not have to be a US citizen, but you do need to be residing in the United States. Proof of US residency could be a letter from a teacher or professor, a lease or utility bill in your name, a note from an employer, or another official document indicating that you are currently living in the United States.
Other Requirements
- Artwork submitted must be completed within the last 3 years, and after the onset of disability.
- Previous Emerging Young Artist Program award winners are not eligible to apply.
- Submitted artwork must be able to withstand handling, storage, and transportation.
- 2-Dimensional artwork cannot exceed 60 inches in height or width.
- 3-Dimensional artwork cannot exceed 48 inches in any direction when packed for shipping.
- All art forms eligible including but not limited to painting, drawing, sculpture, photography, textile, video, and digital.
- Applicant must be the sole creator and owner of all artwork submitted.
- Work that suggests visual plagiarism, such as direct copy of another artists’ work, will not be accepted.

Why write an artist's Bio?

An artist bio is often the first piece of information available to readers and collectors, and as such it offers you a chance to frame their practice and give collectors a reason to want to learn more. Bios also drive search engine optimization (SEO). When returning search results, Google and other search engines privilege written content that is “sticky” (i.e. readers spend time on the page and continue browsing), so providing an engaging, well-written bio is a great way to increase discoverability for your artists.
These are the three cornerstones—tried, tested, and used today by our writers at Artsy—of the perfect artist bio:

Read the rest of the piece by Jessica Backus here.