Friday, October 26, 2012
Thursday, October 25, 2012
Congratulations!
Anonymous Was A Woman is an unrestricted grant of $25,000
that enables women artists, over 45 years of age and at a critical
juncture in their lives or careers, to continue to grow and pursue their
work. The Award is given in recognition of an artist's accomplishments,
artistic growth and the quality of her work. It is not need-based.
The name of the grant program, Anonymous Was A Woman, refers to a line in Virginia Wolf’s A Room of One’s Own. As the name implies, nominators and those associated with the program are unnamed. The award was begun in 1996 in response to the decision of the National Endowment of the Arts to cease support of individual artists.
The name of the grant program, Anonymous Was A Woman, refers to a line in Virginia Wolf’s A Room of One’s Own. As the name implies, nominators and those associated with the program are unnamed. The award was begun in 1996 in response to the decision of the National Endowment of the Arts to cease support of individual artists.
And an extra congrats to the DMV's own Jae Ko, who is represented locally by the Marsha Mateyka Gallery.
$ 25,000. grant
2012 Award Winners:
Ann Agee
Uta Barth
Andrea Fraser
Jane Hammond
Mary Kelly
Judy Pfaff
Betye Saar
Lorna Simpson
Jessica Stockholder
Heard on Univision
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This is why I too have so much fun in my artwork with this confusion between race and ethnicity and what stereotypes are supposed to fit who...
Check it out here.
DMV collectors recognized
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Both he and his lovely wife Gisela are HUGE supporters of DMV area artists, avid art fair and gallery aficionados, and owners of one of the best art collections in the world.
I am proud to be in their collection (multiple times) and happy to see them recognized in the current issue of American Style magazine.
See more on the article about the Hubermans here.
Wednesday, October 24, 2012
Opportunity for Artists
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Monday, October 22, 2012
Postcards from the Edge
SAVE THE DATE
CALL FOR ARTISTS
MARK YOUR CALENDARS:
The 15th Annual Postcards from the Edge
A benefit for Visual AIDS
January 4-6, 2013
Hosted by Sikkema Jenkins & Co.
PREVIEW PARTY: Friday, January 4, 2013 from 6:00 - 8:00 PM
The only opportunity to see the entire exhibition. No sales. $85 admission.
BENEFIT SALE: $85 each.
Saturday, January 5, 2013 from 10:00 AM - 6:00 PM (*Buy four and get a bonus fifth)
Sunday, January 6, 2013 from 12:00 AM - 4:00 PM (*Buy two and get a bonus third)
Over 1500 anonymously displayed postcard-sized masterpieces.
Postcards From the Edge is a Visual AIDS benefit exhibition and sale of original, postcard-sized artworks by established and emerging artists. This year, the event is even more special because it inaugurates the 25th Anniversary year. All artwork is exhibited anonymously. While buyers receive a list of all participating artists, they don't know who created which piece until after purchase. With the playing field leveled, all participants can take home a piece by a famous artist, or someone who is just making their debut. Nonetheless, collectors walk away with a piece of art they love, knowing that the money raised will support HIV prevention and AIDS awareness. Click here for more info.
CALL TO ARTISTS:
Visual AIDS invites artists to donate a 4" x 6" original work on paper for our Postcards From the Edge exhibition and benefit sale. Painting, drawing, photography, printmaking, and mixed media are all welcome. Artists must be 18 years or older to participate. One entry per artist.
Click here for information on how you can participate.
DEADLINE: Postmark Friday, December 7, 2012
Questions? Visit FAQ page here or email info@visualAIDS.org
Sunday, October 21, 2012
Manon Cleary finally in the SAAM
Recently the Smithsonian American Art Museum accepted two of Manon Cleary's epic Men in Plastic Bags series graphite drawings for its permanent collection.
This is great and most richly deserved for an artist whose impact, both personal and artistic, upon the Greater DC area art scene, as well as the national art scene in some sectors, more than deserve her placement among her peers at the SAAM.
And even after her passing Manon continues to have an impact upon the DMV art scene because this acquisition should now bring to the forefront the fact that the SAAM, much like all the other local DMV museums has a chronic problem with looking in its own backyard for worthy artists.
I once noted on NPR radio that our "local" museums, because they tend to think of themselves as "national" museums, would rather have its curatorial staff take a cab to Dulles for a flight to Berlin to then visit artists' studios to look at the work of emerging artists in Berlin, than to take a cab to Georgetown, or Kalorama, or Alexandria, or Mt Rainier or wherever in the DMV to visit some local studios.
Manon Cleary should have been in the collection of the SAAM decades ago, and mutliple generations of SAAM curators have perpetuated and continue to cement a gargantuan offense against their own neighborhood by ignoring generation after generation of DMV artists, DMV galleries and the DMV visual art scene in general.
For the Hirshhorn: the same disservice applies; shame on your curators as well.
Thank you Manoncita.
This is great and most richly deserved for an artist whose impact, both personal and artistic, upon the Greater DC area art scene, as well as the national art scene in some sectors, more than deserve her placement among her peers at the SAAM.
And even after her passing Manon continues to have an impact upon the DMV art scene because this acquisition should now bring to the forefront the fact that the SAAM, much like all the other local DMV museums has a chronic problem with looking in its own backyard for worthy artists.
I once noted on NPR radio that our "local" museums, because they tend to think of themselves as "national" museums, would rather have its curatorial staff take a cab to Dulles for a flight to Berlin to then visit artists' studios to look at the work of emerging artists in Berlin, than to take a cab to Georgetown, or Kalorama, or Alexandria, or Mt Rainier or wherever in the DMV to visit some local studios.
Manon Cleary should have been in the collection of the SAAM decades ago, and mutliple generations of SAAM curators have perpetuated and continue to cement a gargantuan offense against their own neighborhood by ignoring generation after generation of DMV artists, DMV galleries and the DMV visual art scene in general.
For the Hirshhorn: the same disservice applies; shame on your curators as well.
Thank you Manoncita.
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