Wednesday, May 11, 2011
Sunday, May 8, 2011
Text Photos
This site has some interesting photos of text that I thought people might like. http://pinterest.com/christih/text/
Tuesday, May 3, 2011
USA Today Article, "Arts graduates find jobs, satisfaction"
Hopeful words for those of you about to graduate!
Arts graduates find jobs, satisfaction - USATODAY.com http://usat.ly/jCqbE2
Monday, May 2, 2011
Final Presentation Schedule
Remember to submit your presentation into the 'Advanced Studio Final Presentations' folder on the desktop of our classroom computer BEFORE the presentations begin. If you're unclear about anything, see the 'Final Presentation Guidelines' handout or blog post, or see me.
Wednesday, May 4, 2:20-3:50:
Joanna
Mary
Michael
Jess
Anna
Jordan
Tuesday, May 10, 6:30-10:
Megan
Lindsay R.
Nick
Kristin
Stephanie
Sarah
Meg
Kirstin
Dane
Lindsey P.
Kara
Caitlin
Kasey
Wednesday, May 4, 2:20-3:50:
Joanna
Mary
Michael
Jess
Anna
Jordan
Tuesday, May 10, 6:30-10:
Megan
Lindsay R.
Nick
Kristin
Stephanie
Sarah
Meg
Kirstin
Dane
Lindsey P.
Kara
Caitlin
Kasey
Saturday, April 30, 2011
Wednesday, April 27, 2011
NY Times Review of the Blinky Palermo Retrospective
"Thinking Outside the Canvas" by Roberta Smith: http://nyti.ms/hLHSFO
Tuesday, April 26, 2011
Internship Opportunity
New Baltimore Collegetown Internship:
http://www.baltimorecollegetown.org/internships/details/609/
Organization: Young Audiences Arts for Learning
Department: Program Department
Position: Program and Outreach Intern, SUMMER
Contact: Cara Schaefer
Title: Assistant to the Executive Director and Operations Manager
Address:
2601 North Howard Street, Suite 320
Baltimore, MD 21218
Phone: 410-837-7577
Fax: 410-837-7579
Email: Cara@yamd.org
URL: www.yamd.org
Category: Nonprofit
Service: Our Vision is that one day EVERY student in Maryland will have the opportunity to Imagine, Create, and realize their full potential through the ARTS!
Semesters: Spring (February - May), Summer (June - August), Fall (September - December), Winter (January)
Year: 2011
Responsibilities:
• Work with the Program Director to increase the reach of arts education programming to more students across the state of Maryland.
• Oversee the distribution and collection of assembly and residency program evaluations.
• Make site visits and evaluate running programs and artists.
• Create and distribute contracts for assembly programs to artists and school contacts.
• Assist on-site manager, with Baltimore City Public Schools, Summer Learning Academies- providing on-site support to teachers, artists, and students.
• Update and design Teacher Guides for all arts programs on our roster.
• Work with the marketing department to develop targeted marketing materials and mailing lists to increase visibility in underserved areas of the state.
• Participate in a website redesign, including generating new text, choosing photos and references, and assisting with layout.
• Assist with planning artist-in-residency programs.
• Collect and analyze data pertinent to programming, student reach, marketing, and development.
• Assist with filing and other administrative tasks.
• Assist with special projects
Desired Skills:
• Can do attitude, strong interpersonal skills, positive attitude • Microsoft Office skills, Excel experience a plus • Proficient writing skills • Some understanding of the arts community, Maryland school system, and non-profits
Workdays: flexible
Paid: No
What materials do you require for application?
Resume, Cover Letter, Writing Sample
http://www.baltimorecollegetown.org/internships/details/609/
Organization: Young Audiences Arts for Learning
Department: Program Department
Position: Program and Outreach Intern, SUMMER
Contact: Cara Schaefer
Title: Assistant to the Executive Director and Operations Manager
Address:
2601 North Howard Street, Suite 320
Baltimore, MD 21218
Phone: 410-837-7577
Fax: 410-837-7579
Email: Cara@yamd.org
URL: www.yamd.org
Category: Nonprofit
Service: Our Vision is that one day EVERY student in Maryland will have the opportunity to Imagine, Create, and realize their full potential through the ARTS!
Semesters: Spring (February - May), Summer (June - August), Fall (September - December), Winter (January)
Year: 2011
Responsibilities:
• Work with the Program Director to increase the reach of arts education programming to more students across the state of Maryland.
• Oversee the distribution and collection of assembly and residency program evaluations.
• Make site visits and evaluate running programs and artists.
• Create and distribute contracts for assembly programs to artists and school contacts.
• Assist on-site manager, with Baltimore City Public Schools, Summer Learning Academies- providing on-site support to teachers, artists, and students.
• Update and design Teacher Guides for all arts programs on our roster.
• Work with the marketing department to develop targeted marketing materials and mailing lists to increase visibility in underserved areas of the state.
• Participate in a website redesign, including generating new text, choosing photos and references, and assisting with layout.
• Assist with planning artist-in-residency programs.
• Collect and analyze data pertinent to programming, student reach, marketing, and development.
• Assist with filing and other administrative tasks.
• Assist with special projects
Desired Skills:
• Can do attitude, strong interpersonal skills, positive attitude • Microsoft Office skills, Excel experience a plus • Proficient writing skills • Some understanding of the arts community, Maryland school system, and non-profits
Workdays: flexible
Paid: No
What materials do you require for application?
Resume, Cover Letter, Writing Sample
Artist Talk TONIGHT!
Josh Haycraft aka BHBITB will be speaking TONIGHT in the art history lecture room in Peterson Hall, 7:30 pm! Get off the couch, bring your dinner, don't miss this talk!
Monday, April 25, 2011
The Incredible Whiteness of Art-Museum Audiences
Here's a link to the article I referenced in today's discussion: http://bit.ly/hwDpkP. Niborama is a great blog to be aware of--it's written by the executive editor of ARTnews, Robin Cembalest.
Here's the text (to access links within the article, visit the blog):
"The recent New York Times story about an artist who turns couch surfing into relational aesthetics raised some interesting issues: in an age when the bunking at museums is becoming more commonplace—both as art piece and outreach—the idea of bringing the sleepover-art concept outside the walls of the museum seems quite logical. But it was after the jump, as we say in the biz, that the artist, who goes by the name Kenya (Robinson) [parenthesis intended], described a more revealing aspect of her relation to the mainstream art world. When she went to Marina Abramovic’s retrospective at MoMA, (Robinson) said, the guard told her she was a rare African-American face in the crowd. So (Robinson) organized groups of 15-20 people of color to come to the museum, she told the Times—but they never got to the front of the line to sit across from Abramovic. Given that lots of people never made it either, that unfortunately resonant metaphor seems less disappointing than the that fact museum demographics clearly remain out of whack with the general population. There are plenty of studies that bear this out—but a glance around most museums or art galleries will suffice.
Of course, as museum directors note, the percentages change when you’re talking about school groups—and, in a report that the American Association of Museums released today, 21.7 percent of museums surveyed spent more on K-12 education in 2010 than they did before. But that’s all museums, not just art museums—and it’s still not good enough. Yet when Arnold Lehman tries different ways to attract more diverse audiences to the Brooklyn Museum, he’s pilloried for not bringing in enough of them. “Only” 340,000 people? Maybe it’s the right 340,000.
Recent surveys trumpet the fact that museum attendance is rising—at least in some of the places at some of the time. But it’s urgent that museums keep trying different ways to attract more diverse audiences, until they get it right—and even if they get it wrong along the way. That means working to bridge the divide between curatorial and education departments until they figure out into how to convert those students into repeat visitors. It means acknowledging that admission fees are preventing those students from coming with their families—in LaPlaca Cohen’s study, 49 percent of respondents said they had decreased their attendance at cultural events because of the economy. (The AAM says the average museum admission fee is “just $7.”)
It also means that professional organizations dedicated to advocacy and networking start rethinking the admission rules and membership fees that turn away the very people they supposedly want to embrace. A look at the attendees at recent award ceremonies for the United States section of the International Association of Art Critics and ArtTable showed how much work remains to be done. Let’s put it this way: Not too many people looked like the guards."
Here's the text (to access links within the article, visit the blog):
"The recent New York Times story about an artist who turns couch surfing into relational aesthetics raised some interesting issues: in an age when the bunking at museums is becoming more commonplace—both as art piece and outreach—the idea of bringing the sleepover-art concept outside the walls of the museum seems quite logical. But it was after the jump, as we say in the biz, that the artist, who goes by the name Kenya (Robinson) [parenthesis intended], described a more revealing aspect of her relation to the mainstream art world. When she went to Marina Abramovic’s retrospective at MoMA, (Robinson) said, the guard told her she was a rare African-American face in the crowd. So (Robinson) organized groups of 15-20 people of color to come to the museum, she told the Times—but they never got to the front of the line to sit across from Abramovic. Given that lots of people never made it either, that unfortunately resonant metaphor seems less disappointing than the that fact museum demographics clearly remain out of whack with the general population. There are plenty of studies that bear this out—but a glance around most museums or art galleries will suffice.
Of course, as museum directors note, the percentages change when you’re talking about school groups—and, in a report that the American Association of Museums released today, 21.7 percent of museums surveyed spent more on K-12 education in 2010 than they did before. But that’s all museums, not just art museums—and it’s still not good enough. Yet when Arnold Lehman tries different ways to attract more diverse audiences to the Brooklyn Museum, he’s pilloried for not bringing in enough of them. “Only” 340,000 people? Maybe it’s the right 340,000.
Recent surveys trumpet the fact that museum attendance is rising—at least in some of the places at some of the time. But it’s urgent that museums keep trying different ways to attract more diverse audiences, until they get it right—and even if they get it wrong along the way. That means working to bridge the divide between curatorial and education departments until they figure out into how to convert those students into repeat visitors. It means acknowledging that admission fees are preventing those students from coming with their families—in LaPlaca Cohen’s study, 49 percent of respondents said they had decreased their attendance at cultural events because of the economy. (The AAM says the average museum admission fee is “just $7.”)
It also means that professional organizations dedicated to advocacy and networking start rethinking the admission rules and membership fees that turn away the very people they supposedly want to embrace. A look at the attendees at recent award ceremonies for the United States section of the International Association of Art Critics and ArtTable showed how much work remains to be done. Let’s put it this way: Not too many people looked like the guards."
Sunday, April 24, 2011
2 Opportunities
1. More is More
LAL provides exhibition and instructor opportunities for local, regional, national and international artists alike! http://bit.ly/eqjnO0
Exhibition Dates: July 22 – September 10, 2011
Entry Deadline: April 22, 2011
See the Call for Entries Poster
More is More examines a common tendency towards multiples and repetition in contemporary art. Our love and worship of multiples takes on many forms, including both repeating objects and images. Are we responding to an influence from industry, technology, materialism and consumerism? Or is this exponential growth from a more abstract desire or compulsion? Regardless where the pattern originated, these serial acts have profound implications about the society that created them. This national juried exhibition offers artists’ exploring the concept of multiples, repetition or abundance, in any media, a chance to exhibit the results. LAL invites artists to openly and creatively interpret this theme.
Artists may submit images and/or videos of their work along with an entry form, exhibition statement, and resume for consideration. All media will be considered.
Eligibility and Media
All artists and designers, age 18 and older, are eligible to enter More Is More. All media and styles will be considered. No reproductions will be accepted. All works must have been completed since 2005 and not previously shown in any LAL gallery.
2. "Young Porfolios" program
In an effort to preserve works by young persons enthusiastic about expressing themselves through the art of photography, the Kiyosato Museum of Photographic Arts(K*MoPA) issues an annual call for submissions to its "Young Porfolios" program. This is not a contest. All photographers, professional or amateur and regardless of nationality, are invited to submit their published or unpublished works to be considered for induction into the Museum's permanent collection. The single condition is that applicants must be 35 years old or younger. We look forward to receiving unique images showcasing the creativity of younger artists in the field of photography.
http://yp.kmopa.org/index.php?ml_lang=en
LAL provides exhibition and instructor opportunities for local, regional, national and international artists alike! http://bit.ly/eqjnO0
Exhibition Dates: July 22 – September 10, 2011
Entry Deadline: April 22, 2011
See the Call for Entries Poster
More is More examines a common tendency towards multiples and repetition in contemporary art. Our love and worship of multiples takes on many forms, including both repeating objects and images. Are we responding to an influence from industry, technology, materialism and consumerism? Or is this exponential growth from a more abstract desire or compulsion? Regardless where the pattern originated, these serial acts have profound implications about the society that created them. This national juried exhibition offers artists’ exploring the concept of multiples, repetition or abundance, in any media, a chance to exhibit the results. LAL invites artists to openly and creatively interpret this theme.
Artists may submit images and/or videos of their work along with an entry form, exhibition statement, and resume for consideration. All media will be considered.
Eligibility and Media
All artists and designers, age 18 and older, are eligible to enter More Is More. All media and styles will be considered. No reproductions will be accepted. All works must have been completed since 2005 and not previously shown in any LAL gallery.
2. "Young Porfolios" program
In an effort to preserve works by young persons enthusiastic about expressing themselves through the art of photography, the Kiyosato Museum of Photographic Arts(K*MoPA) issues an annual call for submissions to its "Young Porfolios" program. This is not a contest. All photographers, professional or amateur and regardless of nationality, are invited to submit their published or unpublished works to be considered for induction into the Museum's permanent collection. The single condition is that applicants must be 35 years old or younger. We look forward to receiving unique images showcasing the creativity of younger artists in the field of photography.
http://yp.kmopa.org/index.php?ml_lang=en
Thursday, April 21, 2011
Lindsey's Discussion Questions
1.) The first question posed at the beginning is what is the Contemporary? The term contemporary has been discussed in great lengths; What is your personal definition of Contemporary Art? Does it line up with Groys' definitions? Relate your definition your personal work.
2.) While reading, a passage that stuck out to me the most was: "The present is a moment in time when we decide to lower our expectations of the future or to abandon some of the dear traditions of the past in order to pass through the narrow gate of the here-and-now" What is your response to this statement? Do you agree? Can you relate it to how you approach your body of work?
3.) Groys speaks in depth about art evolving and time. Where do you see art in the next 10 years? 15?
2.) While reading, a passage that stuck out to me the most was: "The present is a moment in time when we decide to lower our expectations of the future or to abandon some of the dear traditions of the past in order to pass through the narrow gate of the here-and-now" What is your response to this statement? Do you agree? Can you relate it to how you approach your body of work?
3.) Groys speaks in depth about art evolving and time. Where do you see art in the next 10 years? 15?
Wednesday, April 20, 2011
Kirstin's Questions for "Comrades of Time" by Boris Groys
1) Groys describes one viewpoint that art is only truly contemporary if it captures the present in a way that is totally uncorrupted by past traditions or ideas for the future. Later we are given a contrasting viewpoint that states that the present is always corrupted by the past and future.
Which viewpoint do you agree with more? Do you think that it is even possible for the present to be completely free of influence from the past and future? Does influence from the past and future necessarily have to be a bad thing?
2) The article describes the present, especially contemplation of the present, as a barrier impeding the natural flow of time and the realization of ideas for the future. Part of this is due to our persistent boredom with the present. We tend to not be able to describe what the present means and look to the past and future with excitement.
Do you agree that we generally take the present for granted and do you think that this boredom interferes with the artistic process? Have you experienced this when it comes to your own work?
3) Groys talks about how in our time, because of all of the technology at our disposal, it is possible for anyone to be an artist and that because of this we live in a time of all artists and no spectators.
Do you think that it is possible for someone to be a spectator in a time when art is so participatory in nature? Do you think the ability to view art from the comfort of our own homes is a threat to viewing artwork in galleries?
Questions for "Comrades of Time" by Boris Groys
Chloe stole two of my questions, so here goes and let's hear what you think!
1) On p.23, Derrida (via Groys' interpretation) claims that "the present is originally corrupted by past and future." In our art classes, we are told time and time again not to "create art in a vacuum" and to look at outside sources. Does this essentially mean we are corrupting our art? Explain.
2) Groys explains how modernism moves forward using less and less "baggage," resulting in a stream-lined, highly reduced present (p. 24). Can this trend continue? Is it possible to keep shedding old ideals and create art that is even more reduced? Does this trend apply to your own artworks?
3) Do you agree with Groys' analyzes of museums on p.27, where he explains one anticipates everything in a museum to be art, that museums are no longer homes for permanent collections, etc? Can you think of any specific examples that come to mind, and is this a "good thing" (as in, should museums be a revolving door of artwork)?
4) Explain the duality of the negative and positive points of time-based art, presented by Groys on p.39 (last paragraph). Is time-based art really its own "comrade in time?"
1) On p.23, Derrida (via Groys' interpretation) claims that "the present is originally corrupted by past and future." In our art classes, we are told time and time again not to "create art in a vacuum" and to look at outside sources. Does this essentially mean we are corrupting our art? Explain.
2) Groys explains how modernism moves forward using less and less "baggage," resulting in a stream-lined, highly reduced present (p. 24). Can this trend continue? Is it possible to keep shedding old ideals and create art that is even more reduced? Does this trend apply to your own artworks?
3) Do you agree with Groys' analyzes of museums on p.27, where he explains one anticipates everything in a museum to be art, that museums are no longer homes for permanent collections, etc? Can you think of any specific examples that come to mind, and is this a "good thing" (as in, should museums be a revolving door of artwork)?
4) Explain the duality of the negative and positive points of time-based art, presented by Groys on p.39 (last paragraph). Is time-based art really its own "comrade in time?"
Questions for Reading #5, Comrades of Time by Boris Groys
Be specific! Reference the text!
1) Watch Francis Alys’ video “Politics of Rehearsal” here: http://bit.ly/gbTVUj
Reactions? Comments? Questions? Based on what Groys is saying in this section (pg. 30-31), do you think this is an appropriate example?
2) On page 32, Groys states that “To be contemporary does not necessarily mean to be present, to be here-and-now; it means to be “with time” rather than “in time.”
What does “contemporary” mean to you? Can you find an example of an artist you feel, based on this reading and Groys’ own criteria, to be the most “contemporary?” Post an image of the artist’s work along with an explanation.
3) Define vita activa, vita contemplative, and heterotopia. What are the origins of these terms and why are they used/relevant in the reading?
4) Groys asks on page 36, “How can a contemporary artist survive this popular success of contemporary art? Or, how can the artist survive in a world in which everyone can, after all, become an artist?” What do you think? Use specific examples (artists, quotes, viral videos, other readings, etc.) to back up your response.
1) Watch Francis Alys’ video “Politics of Rehearsal” here: http://bit.ly/gbTVUj
Reactions? Comments? Questions? Based on what Groys is saying in this section (pg. 30-31), do you think this is an appropriate example?
2) On page 32, Groys states that “To be contemporary does not necessarily mean to be present, to be here-and-now; it means to be “with time” rather than “in time.”
What does “contemporary” mean to you? Can you find an example of an artist you feel, based on this reading and Groys’ own criteria, to be the most “contemporary?” Post an image of the artist’s work along with an explanation.
3) Define vita activa, vita contemplative, and heterotopia. What are the origins of these terms and why are they used/relevant in the reading?
4) Groys asks on page 36, “How can a contemporary artist survive this popular success of contemporary art? Or, how can the artist survive in a world in which everyone can, after all, become an artist?” What do you think? Use specific examples (artists, quotes, viral videos, other readings, etc.) to back up your response.
Monday, April 18, 2011
Review of Rachel Whiteread's Show in NYC
Here's another example of a not-so-flattering review of Rachel Whiteread's show at Luhring Augustine in Chelsea. A few of us saw this show last month--do you agree with the reviewer?
http://bit.ly/i0foPs
Visiting Artist: Josh Haycraft aka BHBITB lectures on Tuesday 4/26!
Our second and final visiting artist of the semester, Josh Haycraft, will be lecturing on Tuesday April 26th at 7:30 pm in Peterson. Josh received an MFA in Interdisciplinary Studio Art from MICA's Mount Royal School of Art graduate program in 2009. He currently teaches at Westwood College in Arlington, VA and at MICA. For more about Josh, visit www.bhbitb.com
Remember that your attendance is mandatory!
Final Critique Schedule
Final critiques begin Wednesday 4/27! Here's a list of who's going when:
Wednesday 4/27
Stephanie
Lindsay R.
Mary
Jordan
Kirstin
Kara
Nick
Mike
Dane
Monday 5/2
Sarah
Kristin
Joanna
Caitlin
Meg
Meghan
Kasey
Jess
Anna
Be ready!
Wednesday 4/27
Stephanie
Lindsay R.
Mary
Jordan
Kirstin
Kara
Nick
Mike
Dane
Monday 5/2
Sarah
Kristin
Joanna
Caitlin
Meg
Meghan
Kasey
Jess
Anna
Be ready!
Final Presentation Guidelines
We will begin final presentations on WEDNESDAY May 4th—our final exam time is Tuesday May 10th, 6:30-9:30 pm. Those who have other exams during our exam time will be expected to present on May 4th. No exceptions—you must present to receive credit.
CRITERIA:
-Format: Microsoft PowerPoint slide presentation
-What needs to be included?:
-Your revised artist statement. You will also turn in a hard copy to me when you present. No emails! (20 points)
-3 Artist Influences. Include images of their work and talk about why they are relevant to you. (20 points)
-Baltimore Artist Project. See the project sheet for all criteria. If you met with your artist, hopefully you have documentation. Include images of their work, facts about them, why you chose them, anything you feel the need to share. Remember that you should have been communicating with this person throughout the entire semester. Feel free to share parts of their artist statement, any shows they’ve been in, etc. Also include any failed attempts and explain why it didn’t work out. Again, see the sheet. (60 points)
-Daily Chronicles Project. Images of development/progress, include images of any “failed” attempts or adjustments you made throughout the semester. (50 points)
-If you’re in Advanced 2-4, include any work you did in previous semesters that lead you to where you are with your work currently.
-Everyone must include images of ALL work completed/in progress/incomplete this semester. Include any “failures”, sketches, notes, diagrams, studies, etc. that lead to final pieces, then of course include images of “completed” pieces. I’m going to go over image formatting so that you can re-format your image sizes and not have to turn in such a large presentation that it crashes my computer. We’ll also be going over how to document your work (taking digital photos, scanning, etc). (50 points)
-Include any thoughts about where you think the direction of your work will be heading next.
Total: 200 points
Your presentation should last no more than 15 minutes, so pace yourself. You’ve got a lot of info to share—be concise, edit yourself, practice.
I don’t want to see any stock backgrounds, slide transitions, music/sound additions, etc. Remember that this presentation represents you as an artist—keep it neat and professional, and again, edit yourself. Feel free to contact me with any questions.
Sunday, April 17, 2011
Sketchbooks due Monday 5/2
Here's what I'm looking for when I grade your sketchbooks:
-Have you researched artists that have been suggested for you to look up? Are you researching artists at all? (printed out images, notes, etc)
-Are you taking notes about feedback given to you in critiques?
-Are you doing thumbnails sketches and drawings for future projects?
-Are you planning for future projects? (tests, experiments)
-Are you taking notes on any other research you're doing? (about materials, articles, essays, books, etc)
-Are you using your sketchbook as a tool to record your interests/thoughts related to your studio practice?
Your sketchbooks are due no later than Monday 5/2 (no exceptions), and I'll start accepting them for grading next week if you feel you're ready. I'll have them graded and returned to you on Wednesday 5/4.
-Have you researched artists that have been suggested for you to look up? Are you researching artists at all? (printed out images, notes, etc)
-Are you taking notes about feedback given to you in critiques?
-Are you doing thumbnails sketches and drawings for future projects?
-Are you planning for future projects? (tests, experiments)
-Are you taking notes on any other research you're doing? (about materials, articles, essays, books, etc)
-Are you using your sketchbook as a tool to record your interests/thoughts related to your studio practice?
Your sketchbooks are due no later than Monday 5/2 (no exceptions), and I'll start accepting them for grading next week if you feel you're ready. I'll have them graded and returned to you on Wednesday 5/4.
Saturday, April 16, 2011
Opportunity
Hi all--I received this inquiry from Dawn Gold in the Human Resources department. Please contact her directly if you're interested in participating:
We are in the process of planning our summer picnic on May 27 and were trying to find some students who may be interested in coming to campus to do face painting for the kids. I realize that it is after the end of the semester but thought you may know of some local students or students who were going to remain on campus that may be interested. Any help you could provide would be greatly appreciated.
Her email address is: dgold@mcdaniel.edu
We are in the process of planning our summer picnic on May 27 and were trying to find some students who may be interested in coming to campus to do face painting for the kids. I realize that it is after the end of the semester but thought you may know of some local students or students who were going to remain on campus that may be interested. Any help you could provide would be greatly appreciated.
Her email address is: dgold@mcdaniel.edu
Tuesday, April 12, 2011
Aviv Gallery Show at Towson
My friend invited me to this photography show at Towson and I thought some people might be interesting in going. From my understanding it's work from the photography department students. It's on Friday April 29th from 7-10pm.
Towson Commons Gallery
435 York Rd.
Towson, MD
Sunday, April 10, 2011
Info about the Salon Show
Anyone participating in the Salon de Refuses Show at the Carroll County Arts Center, this post's for you!
-Your work should be matted and framed, and dropped off to me by Monday April 18th. You can either leave your work in my little office, or hand your work off during class/office hours.
-Anna Martin and Sarah Reeb will be delivering the work to CCAC on Tuesday April 19th. They will be hanging the show that day as well.
-The opening for the Salon show will be at the CCAC on Thursday April 21st at 6 pm.
-Any work not dropped off to me, Anna, or Sarah will not be included in the show, so be sure to make arrangements.
-Your work must be picked up from CCAC by May 15th or it will be thrown away!
Also, anyone participating in the Juried Show currently:
-Be sure to pick up your work on Sunday April 17th. I will be emailing campus safety a list of your names so that you can be let into the gallery to get your work. The first Senior Capstone show is going up I believe that same day, so please get your work out!
-Your work should be matted and framed, and dropped off to me by Monday April 18th. You can either leave your work in my little office, or hand your work off during class/office hours.
-Anna Martin and Sarah Reeb will be delivering the work to CCAC on Tuesday April 19th. They will be hanging the show that day as well.
-The opening for the Salon show will be at the CCAC on Thursday April 21st at 6 pm.
-Any work not dropped off to me, Anna, or Sarah will not be included in the show, so be sure to make arrangements.
-Your work must be picked up from CCAC by May 15th or it will be thrown away!
Also, anyone participating in the Juried Show currently:
-Be sure to pick up your work on Sunday April 17th. I will be emailing campus safety a list of your names so that you can be let into the gallery to get your work. The first Senior Capstone show is going up I believe that same day, so please get your work out!
2 Internship Opportunities
The first is with a company called TheCelebrityCafe.com. All the info is posted here: http://www.baltimorecollegetown.org/internships/details/588/
The second is with a company called Zynga--all info posted here: http://www.zynga.com/jobs/zu.php
The second is with a company called Zynga--all info posted here: http://www.zynga.com/jobs/zu.php
Friday, April 8, 2011
News @ Mcdaniel: Art Students Showcase Their Talents in Mixed Media
We made the McDaniel News! http://bit.ly/gIsUD5
Wednesday, April 6, 2011
Kristin's Questions for Camera Lucinda
1. From the very beginning Barthes says that, "What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially" leading to "this Photograph, and not Photography". Do you agree? Can every photo never be repeated and by the nature of this, do you think that the fleeting moment of the photo makes it a "this" instead of something more?
2.Barthes talks about the principal of adventure and how a good photograph animates him, which allows Photography to exist for him. Do you agree with him that if a photo "says nothing" to you it isn't really an image? Can an individual person say confidentially what is an image or not? Or must everyone have their own internal dialogue?
3. Barthes references numerous times that he is not a photographer. Do you think his view of Photography vs. this photo would still be the same if he was a photographer? Does the fact that he is slightly separated from the field help, hinder, or make no difference to his view on photography?
Anna's Questions for Camera Lucida
Barthes believes that a photograph is, in a sense, a "Death." The photograph is taken of a specific moment of a specific person at that moment, which cannot be reproduced. Do you agree with this belief? Why or why not?
Do you think that the author feels differently about other artistic media, such as painting, drawing, and sculpture? Do you feel differently?
The author also discusses how a photograph of a person forces the subject to be aware and self-conscious of thus an imitation of him/herself:
"In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art... I do not stop imitating myself." Barthes concludes that this results in a kind of inauthenticity in the subject. Does this also apply to journalistic photography (which is more candid), such as the work of later mentioned photographer Koen Wessing? The subjects are aware of the photographer but are simultaneously involved in something much more affecting; does this still result in inauthenticity in the subject, are they on some level acting and therefore resulting in an inauthentic photograph as well?
Do you think that the author feels differently about other artistic media, such as painting, drawing, and sculpture? Do you feel differently?
The author also discusses how a photograph of a person forces the subject to be aware and self-conscious of thus an imitation of him/herself:
"In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art... I do not stop imitating myself." Barthes concludes that this results in a kind of inauthenticity in the subject. Does this also apply to journalistic photography (which is more candid), such as the work of later mentioned photographer Koen Wessing? The subjects are aware of the photographer but are simultaneously involved in something much more affecting; does this still result in inauthenticity in the subject, are they on some level acting and therefore resulting in an inauthentic photograph as well?
Mike's reading questions
With an ever expanding repertoire of tools and methods for photo editing, especially in the realm of digital photography, is an image captured in this day and age truly, as the author would put it, dead? Can images take on new lives of their own on a two dimensional plane, being warped, altered or re-purposed at the leisure of the artist or, in the case of images released into the vast expanses of the internet, any individual in the world? Could we consider these images trails of a singular reality derived from the prototype, like a religious icon would have been regarded during certain periods of the byzantine empire, in the context of time, connecting all through their occurrence in relation to the original and those after it? Or does an original image merely create a jumbled grouping of parallel but stationary realities grouped together loosely by subject?
Does a photograph truly capture a moment in an image, or does it capture a representation of a perceived feeling or emotion? In an attempt to identify his personal interest in certain photos, the author categorizes based on whether a photo advenes. Is this adequate or should we consider the importance of mankind's empathetic nature and it's relation to photography as well as the entirety of the art world. Should the author have said the images makes him empathize with the prototype, or the artist or even the conveyed emotions of the images spectrum (color or black and white)?
In chapter 20, does the author place to much importance on the serendipitous nature of photos? While he obviously seems to prefer purely situational photos, does he in fact ignore the entirety of staged and studio photography (which was the sole form of the medium when it first began)?
Spring Solos at Arlington Arts Center opening next Friday!
Arlington Arts Center hosts 2 sets of solo exhibitions per year--one set in the spring, and the other in the fall. McDaniel alum and faculty member Mindy Hirt is in the first set of solos, opening Friday April 15th, 7-10 pm. The show runs from April 15-June 5, 2011. Here's the press release:
For AAC SOLOS 2011, DC collector and curator Michael Pollack and independent international curator Melissa Keys, formerly of the Perth Institute of Contemporary Art (PICA), Australia, selected this year’s crop of promising emerging contemporary artists from across the Mid-Atlantic region. Our Spring installment of SOLOS includes Mindy Hirt, Mariah Anne Johnson, Ailsa Staub, Leigh Davis, Joshua Wade Smith, and Jennifer Coster.
AAC is located at 3550 Wilson Blvd Arlington, VA 22201. For more info, visit https://www.arlingtonartscenter.org/spring-solos-2011
Travel Season: New Work by Chloe Watson opens next Friday!
I have a solo show opening at the DC Arts Center on Friday April 15th, 7-9 pm! There will be an artist/curator talk on Saturday May 7th at 5 pm. The show runs from April 15-May 8, 2011. Here's the press release:
Chloe Watson uses acrylics, colored pencil and contact paper to create abstract imagery of familiar spaces that creates a dialog between individual memories and collective spaces. Her paintings present a world of places, previous dwellings, studios, galleries, and hotel rooms. The stripping of details, save for patterns which serve as a surrogate for the real, form highly geometric representations, which become spaces for reflection and the projection of experience. --Geoff Delanoy, Curator
This is an entirely new body of work, all completed in the months after traveling extensively in the fall. For more about DCAC, visit www.dcartscenter.org. For more about me, visit www.chloeswatson.com
DCAC is located at 2438 18th St NW Washington, DC 20009
Internship Opportunity: Hirshhorn Museum in DC
The Hirshhorn Museum & Sculpture Garden is looking for summer interns to work with their Digital Learning Programs. Here's all the info:
Each summer the Hirshhorn offers workshops and organizes production teams and social clubs for DC-area youth as part of our Digital Learning Programs. This year the Museum has an opening for a paid intern. Eligible students should be enrolled in a college-level digital media, museum education, or studio art program. Experience with Apple iLife and Adobe Creative Suite is suggested; the ability to troubleshoot technology is required. The position lasts twelve consecutive forty-hour weeks, from June 6 to August 26, 2011. The workweek is Monday through Friday, 9 am to 5 pm.
About the Hirshhorn's Digital Learning Programs
The Digital Learning Programs constitute a Museum-wide initiative that teaches DC-area youth, ages 13 to 19, to use technology to create projects inspired by Hirshhorn exhibitions. In addition to the Art Lab, which provides a physical base for the DLP, there is an online social network that enables teens to share work and ideas when they are away from the Museum. There is also a full-day drop-in technology center open to teens so they can hang out, meet friends, and experiment with technology. During this time, a teen social club meets to plan events and a teen production team meets to initiate group projects. For more information, please see the ARTLAB+ website: http://artlabplus.si.edu/
Intern Responsibilities
The Digital Learning Programs intern will primarily provide workshop educators with logistical support and participants with on-site and online mentoring, guiding teens through Museum galleries and supporting production teams and social clubs in planning projects and events. The four-day workshops can be strenuous, involving activities both inside the Art Lab and outside on the National Mall. The fifth day of each week focuses on facilitating the drop-in program.
Stipend
The intern will receive a stipend of $3000 for the twelve-week period.
Applications must be completed online at https://solaa.si.edu no later than Friday, May 20, 2011. Any questions about the internship should be directed to Ryan Hill, Director of Digital Learning Programs.
For more info, visit http://hirshhorn.si.edu/info/page.asp?key=207&subkey=362
Tuesday, April 5, 2011
Congratulations Juried Show Participants!
Thank you to everyone who 1) submitted work to the juried show, 2) got your work framed and brought your work back for installation, and 3) showed up tonight for the opening reception! This is the smallest, most selective juried show the college has ever had. Here's a list of the award winners:
Best in Show: Kristin Behrle, "Connection"
1st Place: Noel Walters, "The Chocolate One"
2nd Place: Jessica Oros, "Twice a Day"
3rd Place: Megan Magee, "1/4th"
Honorable Mention: Kara Owens, "Peek Beyond"
Honorable Mention: Kirstin Bowers, "Piggies!"
Honorable Mention: Sarah Reeb, "Untitled"
Foundation Award: Casey Roberds, "Library"
Congratulations to everyone!
ARTnews Article Exploring Contemporary History Painting
Here'a link to a recent ARTnews article discussing how artists of many genres are using contemporary world events as their subject matter.
"History in the Making" by Ann Landi: http://bit.ly/i14ILX
Monday, April 4, 2011
Artwork Donations Request
This is from Roxanna Harlow who used to be faculty here:
On May 2nd, from 6:30-9:00pm in McDaniel Lounge, we will be having our Higher Learning Student Photography Exhibition and Silent Auction. It will feature photographs taken by our students throughout the last two summers. The pictures will be displayed and judged by artists and art students, with awards given to the students of winning photos.
In addition to the students' photographs, professional artwork of various mediums by different artists will be on display and presented for auction. And that’s where you would come in!
I’m wondering if you’d be willing to donate one of your (smaller?) pieces of artwork for our upcoming exhibition and silent auction. It would be wonderful to have something of yours represented with the professional art for auction. In addition, do you know of any students or other artists who may be willing to donate a piece? Perhaps someone who does sculpture or ceramics or also paints.
All proceeds will support Higher Learning students and programs. In addition, your art donation is tax deductible!
If you can let me know no later than April 4th, that would be great. If you’re able to contribute, we can then make arrangements for me to pick up your donation at a later time. Whatever the case, I hope you’ll come out for the Exhibition and spread the word!
If you have any questions, please call me at 410-900-7957 or email rharlow@higherlearning-inc.org.
Email her if you're interested in participating!
On May 2nd, from 6:30-9:00pm in McDaniel Lounge, we will be having our Higher Learning Student Photography Exhibition and Silent Auction. It will feature photographs taken by our students throughout the last two summers. The pictures will be displayed and judged by artists and art students, with awards given to the students of winning photos.
In addition to the students' photographs, professional artwork of various mediums by different artists will be on display and presented for auction. And that’s where you would come in!
I’m wondering if you’d be willing to donate one of your (smaller?) pieces of artwork for our upcoming exhibition and silent auction. It would be wonderful to have something of yours represented with the professional art for auction. In addition, do you know of any students or other artists who may be willing to donate a piece? Perhaps someone who does sculpture or ceramics or also paints.
All proceeds will support Higher Learning students and programs. In addition, your art donation is tax deductible!
If you can let me know no later than April 4th, that would be great. If you’re able to contribute, we can then make arrangements for me to pick up your donation at a later time. Whatever the case, I hope you’ll come out for the Exhibition and spread the word!
If you have any questions, please call me at 410-900-7957 or email rharlow@higherlearning-inc.org.
Email her if you're interested in participating!
Sunday, April 3, 2011
Tom Haverford on Art
Anybody watch Parks and Recreation? There's a great episode called "The Camel" where Tom Haverford discovers the power that art has over his emotions--pretty hilarious! Check it out.
The Return of the Religious in Contemporary Art by Matthew Milliner
Here's a link to an article by Matthew Milliner titled, "The Return of the Religious in Contemporary Art." This is a few months old now, but still very relevant for those of your using religious overtones in your work (whether you realize it or not).
http://huff.to/gBOCAN
http://huff.to/gBOCAN
Saturday, April 2, 2011
How To Steal Like an Artist
This is really great!! How To Steal Like An Artist (And 9 Other Things Nobody Told Me) - Austin Kleon http://bit.ly/hbAo3l
Thursday, March 31, 2011
Internship Opportunity: School 33 Art Center in B-more
Position Description
School 33 Art Center Intern – Summer 2011 Semester
(Mid-May through Mid-August)
The School 33 Art Center internship is a part-time unpaid practicum. Projects include but are not limited to:
• Assist with logistics for major events such as the LOTTA ART Benefit and Open Studio Tour. Duties will entail working on promotion of events and enlisting community involvement, and working with Exhibitions Coordinator in the coordination of artists participation.
• Assist the Exhibition Coordinator with various aspects of the Gallery Exhibition Program. Duties will include help in organizing for open calls for submissions, posting exhibition announcements and call for entries on line, working on press releases, assisting Exhibition Coordinator in the installation and lighting of exhibitions, assisting at receptions and events, as well as help document receptions and exhibitions.
• Assist the Education coordinator with various aspects of the Education program including After School Art for children. Duties will entail promotion of program, assisting with revitalization of classroom spaces, working on press releases, assisting with registration, photographing After School Art workshops.
• Undertake other projects as needed for the Administrative staff of School 33 Art Center.
• Update and create copy for School 33’s website.
• Assist with our fundraising and development programs. Help manage our day-to-day membership correspondence, maintain master database, and respond to guests and visitors requests for more information about our center.
• Assist staff with typical office duties such as sending out mailings, answering phone, making copies, organizing/storage, and transmitting faxes and emails.
We are looking for a reliable, self-directed, fast learner. Experience with PC platform, databases, Microsoft Office, and Adobe Creative Suites is especially helpful. Interest in contemporary art and arts/non-profit administration a plus. This internship is unpaid and can be done for credit if desired. A minimum of 14 hours a week is required; hours are flexible but the student must commit to a schedule in advance. Student will be reimbursed for parking or given a MTA pass for days that they are interning at School 33. If interested in applying, please email cover letter and resume to dzink@promotionandarts.com no later than April 15, 2011.
Holton Rower "Tall Painting" SO COOL.
Tall Painting by Holton Rower
(**Chloe: this can also apply to Drawing Concepts, but I just posted it here**)
Wednesday, March 30, 2011
Marina Abramovic Lecture @ American University on Wednesday, April 6th
Performance artist Marina Abramovic is coming to American University this Wednesday to give a lecture about her work. This is a GREAT opportunity! If you are interested in attending, contact me or Steve ASAP as we need to request tickets. We can also provide rides to and from the event. Here's the press release:
Abramovic has presented her work with performances, sound, photography, video, sculpture and Transitory Objects for Human and Non Human Use in solo exhibitions at major institutions in the US and Europe. Her work has also been included in many large-scale international exhibitions including the Venice Biennale (1976 and 1997) and Documenta VI, VII and IX, Kassel, Germany (1977, 1982 and 1992). In 1998, the exhibition Artist Body -- Public Body toured extensively, including stops at Kunstmuseum and Grosse Halle, Bern and La Gallera, Valencia. In 2004, Abramovic also exhibited at the Whitney Biennial in New York and had a significant solo show, The Star, at the Maruame Museum of Contemporary Art and the Kumamoto Museum of Contemporary Art, Japan.
Abramovic has taught and lectured extensively in Europe and America. In 1994 she became Professor for Performance Art at the Hochschule fur Bildende Kunst in Braunschweig where she taught for seven years. In 2004 she was awarded an Honorary Doctorate from the Art Institute in Chicago.
She was awarded the Golden Lion for Best Artist at the 1997 Venice Biennale for her extraordinary video installation/performance piece Balkan Baroque and in 2003 received the Bessie for The House with the Ocean View a 12-day performance at Sean Kelly Gallery.
In 2005, Abramovic presented Balkan Erotic Epic at the Pirelli Foundation in Milan, Italy and at Sean Kelly Gallery, New York. That same year, she held a series of performances called Seven Easy Pieces at the Guggenheim Museum in New York. She was honored for Seven Easy Pieces by the Guggenheim at their International Gala in 2006 and by the AICA USA with the "Best Exhibition of Time Based Art" award in 2007. Abramovic's work is included in numerous major public and private collections worldwide. She was the subject of a major retrospective at MoMA -- The Artist Is Present -- from March 14 through May 31, 2010.
Marina Abramovic lives and works in New York.
Attention Graphic Design Students!! AIGA Baltimore: Mini-Portfolio Reviews
The Professional Association of Design has scheduled Spring Portfolio reviews for April 30th! Please spread the word to students!
This year's event is sponsored by University of Baltimore and a portion of the cost of the event goes to urban youth art/design/media programming. Please let me know if you have any questions! Sign up now, space is filling up!
Saturday, April 30, 2011 — April 30, 2011 9 am - 3 pm
UB / Liberal Arts and Policy Building / 3rd floor
10 West Preston (Northwest corner of Charles and Preston Streets)
Baltimore, MD 21217
http://baltimore.aiga.org/events/2011/04/59489438
In other news, MICA in East Baltimore will be hosting a Panel on Social Design with some fantastic speakers coming up. Stay tuned, this event is geared towards students and professionals and introduces information on the new MA in Social Design program at MICA. Save the Date: April 27th!
Tuesday, March 29, 2011
Flash: Photo DC Up and Running until April 17th
Flash: Photo DC
March 17 – April 17, 2011
2450 Crystal Dr. 12th and 13th Floors, Arlington, VA
FLASH is a month-long event created by FotoDC and sponsored by the Crystal City BID. Between March 17th and April 17th, 2011, the penthouse (12th & 13th Floors) of 2450 Crystal Drive in Arlington, VA will be filled with exciting photography shows and events. FLASH will encompass two curated photography exhibitions, a library of photography books, and a lounge for refreshments and discussion.
For more info, go here: http://art202.com/2011/02/28/flash-photo-dc/
Sunday, March 27, 2011
Visiting Critic #2: Matthew Fishel
Our second visiting critic of the semester is multimedia artist Matthew Fishel. Matthew graduated from Mount St. Mary's College and then went on to receive a Post-Baccalaureate Certificate and MFA in interdisciplinary studio art from MICA. He's currently the Operations Coordinator for Graduate Admission at MICA. He'll be with us on Wednesday evening. For more about Matthew, visit his website: www.matthewfishel.com
This post's for Nick: Sarah McNeil's MFA Thesis Show @ MICA
Sarah McNeil's MFA Thesis show just opened on Friday at MICA in the Decker Gallery. I HIGHLY RECOMMEND you get down there and go check it out--she's someone who uses many different materials and methods in her work yet they all relate to her concept and ideas. She uses mixed-media, and she uses it extremely well; you should really take advantage of getting to know her and her practice for your Artist Project.
Highlights from NYC
From Top to Bottom:
-Kenneth Noland @ Michell-Innes & Nash, Chelsea
-Rachel Whiteread's new resin sculptures at Luhring Augustine, Chelsea
-RH Quaytman (currently my favorite living artist) piece in the Proofs and Refutations show at David Zwirner, Chelsea
Thursday, March 24, 2011
MICA MFA Thesis Show I Opening Tomorrow!
MICA this spring features three engaging and provocative exhibitions of thesis work by 50 master's of fine arts (M.F.A.) candidates from MICA's internationally renowned M.F.A. in Community Arts, M.F.A. in Graphic Design, Hoffberger School of Painting, Mount Royal School of Art, M.F.A. in Photographic & Electronic Media and Rinehart School of Sculpture programs. The first three shows, each spanning a little more than a week, take place in MICA's Decker, Meyerhoff and Fox 3 galleries, located in Fox Building, 1303 W. Mount Royal Ave.
Thesis I opens TOMORROW, Friday, March 25 and closes Sunday, April 3.
A public reception with the artists takes place Friday, March 25, 5-7 p.m.
Gallery Talks: Tuesday, March 29, 3-5 p.m. and Wednesday, March 30, 1-3 p.m.
Fox Building: Decker, Meyerhoff, and Fox 3 galleries (1303 W. Mount Royal Ave.)
Featuring: Lauren Adams (Graphic Design), Evan Boggess (Hoffberger School of Painting), Christopher Clark (Graphic Design), Seok Han (Photographic & Electronic Media), Wilson Hill (Photographic & Electronic Media), Hector Leiva (Photographic & Electronic Media), Ann Liu (Graphic Design), John McNeil (Photographic & Electronic Media), Sarah McNeil (Mount Royal School of Art), Wendy Tai (Rinehart School of Sculpture), Eli Walker (Hoffberger), Supisa Wattanasansanee (Graphic Design) and Erin Zerbe (Photographic & Electronic Media)
Wednesday, March 23, 2011
Call for Entries: 12 12 Gallery, International Juried Exhibition on Works on Paper
12 12 GALLERY announces an open call to all artists creating works on paper, the International Juried Exhibition of Works on Paper 2011. The exhibition juror, Dan Welden, Master Printmaker and Director of Hampton Editions, Ltd, will award up to $1000 in cash prizes.
ELIGIBILITY
Artists around the world, age 18+, may submit up to 3 images of works on paper to be considered for the exhibition. For the purposes of this exhibition, works on paper include, but are not limited to, monotypes, photography using any photographic process, hand-pulled prints from any printmaking process (etching, solarplate, linocut, lithographs, etc), watercolor, acrylic, or oil on paper. Additional images may be submitted at additional cost for up to a total of 5 works. Work previously exhibited at 12 12 Gallery is not eligible.
ENTRY PROCEDURE Entrants are asked to submit digital images on CD, DVD or online ONLY. Only one image may be submitted for each work.
Preparing Digital Files. Composition and artistic merit will be evaluated by high resolution digital images. Generate a digital file of each image at a resolution of 300 ppi, with the longest dimension being 1900 pixels. Save the file in JPG format, at the maximum quality level, which results in a compressed final image size that is approximately 2MB. Label each file with the last name, first initial, and the number corresponding to the entry number (e.g. SmithJ1). Please identify images on the entry form with the title of the work.
Mailed or Hand-Delivered Entries. CD or DVD, completed entry form, entry fee, and SASE (for return of CD and notification) must be postmarked by Friday, April 15, 2011 and sent to 12 12 Gallery, Zero E. 4th Street #39, Richmond, Virginia, 23224.
Online Entries. In the body of an e-mail, include your name, address, telephone number, and e-mail address. In this e-mail, please provide file title, work title, medium, framed work size, and sales price for each image you wish to submit. To this e-mail you will attach the images of the work that correspond to this information. Send e-mail with information listed above by 1159PM on Friday, April 15, 2011 to 1212galleryrichmond@gmail.com.
Entry Fee and Payment. Each entrant is required to pay a non-refundable $25 (US) entry fee for 3 images. Additional images may be submitted at $5 (US) each for up to a total of 3 images.
Payment of entry fee will be accepted via PayPal at the gallery account (1212galleryrichmond@gmail.com), personal check (US only), or money order (including international money orders in US dollars) mailed to the gallery by the postmark deadline of Friday, April 15, 2011.
SALES All work must be for sale. 12 12 Gallery will receive a 35% commission on the sale of any work.
OTHER CONDITIONS Entry forms may be photocopied. Incomplete entries or unlabeled images will not be considered. Please note that images of accepted work may be retained for publicity purposes and will be returned after the exhibition closes. Entries will not be returned without SASE and adequate postage. Artists who do not provide SASE for notification will be notified of acceptance by e-mail.
AWARDS Cash prizes up to $1000 will be awarded solely at the discretion of the exhibition juror. Recognition of work by Mr. Welden may also be designated to the extent he deems appropriate. These designations may not include a cash prize.
ACCEPTED WORK must be properly framed and wired ready for hanging. 12 12 Gallery reserves the right not to exhibit work that it deems unsuitable for exhibition.
QUESTIONS Contact the gallery by e-mail at 1212galleryrichmond@gmail.com for more information or if you have questions regarding the exhibition or the prospectus.
ELIGIBILITY
Artists around the world, age 18+, may submit up to 3 images of works on paper to be considered for the exhibition. For the purposes of this exhibition, works on paper include, but are not limited to, monotypes, photography using any photographic process, hand-pulled prints from any printmaking process (etching, solarplate, linocut, lithographs, etc), watercolor, acrylic, or oil on paper. Additional images may be submitted at additional cost for up to a total of 5 works. Work previously exhibited at 12 12 Gallery is not eligible.
ENTRY PROCEDURE Entrants are asked to submit digital images on CD, DVD or online ONLY. Only one image may be submitted for each work.
Preparing Digital Files. Composition and artistic merit will be evaluated by high resolution digital images. Generate a digital file of each image at a resolution of 300 ppi, with the longest dimension being 1900 pixels. Save the file in JPG format, at the maximum quality level, which results in a compressed final image size that is approximately 2MB. Label each file with the last name, first initial, and the number corresponding to the entry number (e.g. SmithJ1). Please identify images on the entry form with the title of the work.
Mailed or Hand-Delivered Entries. CD or DVD, completed entry form, entry fee, and SASE (for return of CD and notification) must be postmarked by Friday, April 15, 2011 and sent to 12 12 Gallery, Zero E. 4th Street #39, Richmond, Virginia, 23224.
Online Entries. In the body of an e-mail, include your name, address, telephone number, and e-mail address. In this e-mail, please provide file title, work title, medium, framed work size, and sales price for each image you wish to submit. To this e-mail you will attach the images of the work that correspond to this information. Send e-mail with information listed above by 1159PM on Friday, April 15, 2011 to 1212galleryrichmond@gmail.com.
Entry Fee and Payment. Each entrant is required to pay a non-refundable $25 (US) entry fee for 3 images. Additional images may be submitted at $5 (US) each for up to a total of 3 images.
Payment of entry fee will be accepted via PayPal at the gallery account (1212galleryrichmond@gmail.com), personal check (US only), or money order (including international money orders in US dollars) mailed to the gallery by the postmark deadline of Friday, April 15, 2011.
SALES All work must be for sale. 12 12 Gallery will receive a 35% commission on the sale of any work.
OTHER CONDITIONS Entry forms may be photocopied. Incomplete entries or unlabeled images will not be considered. Please note that images of accepted work may be retained for publicity purposes and will be returned after the exhibition closes. Entries will not be returned without SASE and adequate postage. Artists who do not provide SASE for notification will be notified of acceptance by e-mail.
AWARDS Cash prizes up to $1000 will be awarded solely at the discretion of the exhibition juror. Recognition of work by Mr. Welden may also be designated to the extent he deems appropriate. These designations may not include a cash prize.
ACCEPTED WORK must be properly framed and wired ready for hanging. 12 12 Gallery reserves the right not to exhibit work that it deems unsuitable for exhibition.
QUESTIONS Contact the gallery by e-mail at 1212galleryrichmond@gmail.com for more information or if you have questions regarding the exhibition or the prospectus.
Student Awards: Time to Apply!
Every year, students are eligible to submit their portfolios for consideration for the following Art Department Awards:
The Wentz Most Promising Freshman Art Award
Endowed by Harold Wentz, this award is determined by the faculty of the Department of Art and Art History. The award goes to the student that, as a freshman, shows the most promise. (You do not have to be a decided Art major to apply for this award)
Outstanding Sophomore Award
A two hundred dollar award (for art supplies and/or books from the school book store which can be used during the junior and/or senior years of the recipient.) A 3.0 GPA in your art classes is required.
The Wasyl Palijczuk Art Award
Open to juniors who are art majors. This award is given to an outstanding art major who is currently completing their junior year.
The M. Louise Shipley Art Award for Excellence
This prestigious award was initiated in 1974 by Wasyl Palijczuk to recognize the many years of service by M. Louise Shipley, as a teacher and department head. The purpose of the award is to recognize the outstanding art student of the year and encourage others to strive for excellence in art. The award is in the amount of $250 cash. The candidate must be a graduating senior art major and must have met the requirements for departmental honors.
The submission deadline is FRIDAY MARCH 25 at 4:30 pm. Please drop off your work in the Rice Gallery
You should include what you feel is your absolute best work--we can meet individually and pick out pieces if need be--and submit roughly 10 pieces. Award winners will be chosen on Monday and you must pick up your work on Monday afternoon from the gallery. The awards will be given out at the student awards ceremony in April.
Please let me know if you have any questions and SUBMIT YOUR WORK IF YOU'RE ELIGIBLE!!!!
Opportunity: Carroll Arts Center/ Carroll County Times Mailbox Project
To honor the upcoming 100th anniversary of the Carroll County Times, the Carroll Arts Center is collaborating with the Times to have the newspaper boxes on Main Street downtown painted in creative and whimsical ways. Here's all of the info that was forwarded to me:
Boxes will be available after March 27th. They are about 3' tall and heavier than you might think. Finished boxes must be done by May 23. Thee boxes can be delivered to your home/school or you can pick one up. They will be put on view prior to the May 30 Memorial Day parade.
Due to how the boxes are positioned on the street, some have 1 or more sides that are not visible to the passerby (we suggest you paint that side a solid color complementary to your overall design). If your box has a "non-visible" side, it will be clearly marked. Let Susan know ASAP is you MUST have a specific number of sides for your design and we will do our best to give you a box that fits yours needs.
Keep in mind that boxes may require some light sanding and a primer coat before starting. We hope designs will last one year, so we suggest you use an oil based paint like Rustoleum and seal them with a water-based sealer, although, if you have a tried and true system, please use it.
Be creative and fanciful, but keep in mind that designs must be appropriate for community viewing and in no way objectionable to anyone. Your design can certainly include your signature! Please do not glue on any 3-d objects or adornments as part of your design. Paint only please. The "window" section cannot be painted. The Carroll County Times readers will be able to vote for their favorites from all 12 entries. The CCT is determining that the prize will be. Good luck!
Please let me know if you're interested in participating ASAP! This would be a great thing for the Art Club to participate in...
Here's a link to an article about a town that's done this project before: http://bit.ly/flcLcW
Volunteers Needed!
There are 2 volunteer opportunities available to everyone:
-Gallery Intern, Salon de Refuses Show: The Carroll Arts Center, host of our Salon de Refuses Show, has asked me to find 2-3 volunteers to act as "gallery interns." Duties include: collecting work accepted into the Salon show, physically taking the work over to the Carroll Arts Center before Tuesday April 19th, meeting with Susan Williamson (Director of CCAC) to go over how to hang/install work, and installing the show at CCAC on Tues-Weds 4/19-4/20.
-Admitted Student Days: There are two Admitted Student Days on Sunday March 27th and Sunday April 10th. On these days, students tour the campus with their families and we get a chance to show off the art department. There are two departmental introductory sessions at 3:45 and 4:30; each runs for 30 mins. During this time, on both days, it would be GREAT if there could be students working in the studio building from 3:30-5:30 so these admitted students can actually see the studio in action. Please show up and work during this time (and other times!) if you can.
Please let me know if you're interested in anything!
Opportunity: Manchester Valley High School
This is a message from Michele Gribben. Her email is mgribben.mcdaniel@gmail.com; email her if you're interested in participating.
I am working with a group of parents from Manchester Valley High School to organize the first ever After-Prom Party.
Our goal is to provide an alcohol free safe environment for the kids to hang out and have fun after the prom. It will be held at the school on May 21-22 from 11:30 pm to 6 am. Someone suggested the idea of face painting and/or caricature art. We have looked into hiring some artists but we are working on a limited budget. We have had many generous food and prize donations from the community but still have a lot of expenses to put on the party. I was wondering if we had an art club or any students who might be willing to do some community service or who might be able to donate some of their time to our event.
We might be able to pay something just not a lot.
I am working with a group of parents from Manchester Valley High School to organize the first ever After-Prom Party.
Our goal is to provide an alcohol free safe environment for the kids to hang out and have fun after the prom. It will be held at the school on May 21-22 from 11:30 pm to 6 am. Someone suggested the idea of face painting and/or caricature art. We have looked into hiring some artists but we are working on a limited budget. We have had many generous food and prize donations from the community but still have a lot of expenses to put on the party. I was wondering if we had an art club or any students who might be willing to do some community service or who might be able to donate some of their time to our event.
We might be able to pay something just not a lot.
Monday, March 21, 2011
NY Trip Paper
Your gallery/exhibition review from a show you see in NYC is due Monday April 11. Remember, if you can't make the NYC trip, you've got to go to an art museum in DC or Baltimore and write about a show you see there. 1-2 pages, be critical (what did you like? What didn't you like? Why?), describe the show, etc. This paper is worth 20 points.
Wednesday, March 16, 2011
Sarah Reeb - discussion questions for Reading 3: Art and Objecthood
(with time to spare!!)
1. On page 128, Fried comments about the size of literalist work. One example he states was Tony Smith's Die which was six-foot tall. Later he says that "one way of describing what Smith making might be something like a surrogate person - that is, a kind of statue." Then, on page 129, Fried says that he is "suggesting...that a kind of latent of hidden naturalism...lies at the core of literalist theory and practice."
Do you agree? Why? Why not?
Do you feel that the size of a piece has a greater impact when it is the same size as a human being?
2. Again referencing Tony Smith, Fried shares a story of Smith's on pages 130-131 (the New Jersey Turnpike). Fried then says that "'you just have to experience it' - as it happens, as it merely is. (The experience alone is what matters.)"
When it comes to visual art, one must experience art. However, with technology at it's peak, experiencing art has become so much easier and accessible to the masses. How is this both a good thing and a bad thing?
3. Throughout the entire essay, Fried compares literalist art and theatre. Though Fried makes valid points to his argument, is the gap between art and other forms of art (such as audio, dance, creative word, etc) starting to disappear? Why? Why not?
Would you say that having a background in liberal arts is decreasing the gap? Why? Why not?
1. On page 128, Fried comments about the size of literalist work. One example he states was Tony Smith's Die which was six-foot tall. Later he says that "one way of describing what Smith making might be something like a surrogate person - that is, a kind of statue." Then, on page 129, Fried says that he is "suggesting...that a kind of latent of hidden naturalism...lies at the core of literalist theory and practice."
Do you agree? Why? Why not?
Do you feel that the size of a piece has a greater impact when it is the same size as a human being?
2. Again referencing Tony Smith, Fried shares a story of Smith's on pages 130-131 (the New Jersey Turnpike). Fried then says that "'you just have to experience it' - as it happens, as it merely is. (The experience alone is what matters.)"
When it comes to visual art, one must experience art. However, with technology at it's peak, experiencing art has become so much easier and accessible to the masses. How is this both a good thing and a bad thing?
3. Throughout the entire essay, Fried compares literalist art and theatre. Though Fried makes valid points to his argument, is the gap between art and other forms of art (such as audio, dance, creative word, etc) starting to disappear? Why? Why not?
Would you say that having a background in liberal arts is decreasing the gap? Why? Why not?
Stephanie's Reading 3 Questions
1) The author states that the main problem with minimalist, or literalist, art is that it is too theatrical. Its theatricality comes from objecthood, which the literalists believe separate their art from modernist painting. "...the literalist espousal of objecthood amounts to nothing other than a plea for a new genre of theater; and theater is the negation of art." Do you believe that theater, and literalist work, is the negation of art?
2) "The success, even the survival, of the arts has come increasingly to depend on their ability to defeat theatre." Why is theater considered such a negative and destructive element to the arts - do you believe it even is? In what ways can the arts defeat theater?
3) "Literalist work is often condemned - when it is condemned - for being boring. A tougher charge would be that it is merely interesting." What do you think about this? The issues of the quality and value of art are not important to literalists, instead they are only concerned with sustaining interest. According to the author, being interesting is a bad thing. Do you believe this is true? If value and quality are not a part of the work, can it be interesting?
2) "The success, even the survival, of the arts has come increasingly to depend on their ability to defeat theatre." Why is theater considered such a negative and destructive element to the arts - do you believe it even is? In what ways can the arts defeat theater?
3) "Literalist work is often condemned - when it is condemned - for being boring. A tougher charge would be that it is merely interesting." What do you think about this? The issues of the quality and value of art are not important to literalists, instead they are only concerned with sustaining interest. According to the author, being interesting is a bad thing. Do you believe this is true? If value and quality are not a part of the work, can it be interesting?
Sunday, March 13, 2011
Highlights From a Visit to the Hirshhorn
From Top:
-An amazing Gerhard Richter painting
-Larry Poons in the Color Forms show
-Another Larry Poons in the Color Forms show
-A (sneaky) shot of the Blinky Palermo show currently on view
How an Artist Gets a First Show With an Art Gallery
Sound advice!
How an Artist Gets A First Show With an Art Gallery: http://bit.ly/ih4sca
How an Artist Gets A First Show With an Art Gallery: http://bit.ly/ih4sca
Saturday, March 12, 2011
NYC Trip: Saturday March 26th
Our annual trip to NYC is coming up! I've made a list of shows that will be up during our visit:
Robert Mangold: Ring Paintings at the Pace Gallery 32 East 57th St*
Christina Iglesias at Marian Goodman Gallery 24 West 57th St
John Chamberlain at Paula Cooper Gallery, 534 West 21st St
Malevich and the American Legacy at Gagosian Gallery, 980 Madison Ave
Rudolf Stingel at Gagosian Gallery, 555 West 24th St
Gary Hill at Gladstone Gallery, 515 West 24th St
Proofs and Refutations at David Zwirner, 519 West 19th St*
Kenneth Noland at Mitchell-Innes & Nash, 534 West 26th St*
Karen Kilimnik at 303 Gallery, 547 West 21st St
Isaac Julien at Metro Pictures, 519 West 24th St
David Altmejd at Andrea Rosen Gallery, 525 West 24th St*
Peter Halley: Four Decades of Drawing at Gering & Lopez Gallery, 730 Fifth Ave*
Jose Parla at Bryce Wolkowitz Gallery, 505 West 24th St
Tomory Dodge at CRG gallery, 548 West 22nd St
Titus Kaphar: Classical Disruption at Friedman Benda Gallery, 515 West 26th St
Mona Hatoum: Bourj at Alexander and Bonin, 132 Tenth Ave
Silvia Bachli: Fjall at Peter Freeman, Inc. 560 Broadway*
Claudette Schreuders: Close, Close at Jack Shainman Gallery, 513 West 20th St
Michael Eastman: Havana 2010 at Barry Friedman Ltd, 515 West 26th St
Unpainted Paintings at Luxembourg & Dayan, 64 East 77th St*
Longing for Identity: Postwar Japanese Photography at Yoshii Gallery, 980 Madison Ave
Ali Banisadr at Leslie Tonkonow Artworks+Projects, 535 West 22nd St
Sze Tsung Leong: Cities at Yossi Milo Gallery, 525 West 25th St*
Margherita Manzelli: L’ape e la rosa at Kimmerich, 50 White St
Lynne Woods Turner: New Paintings & Drawings at Danese Gallery, 535 West 24th St
Paul Kolker: Let There Be Light! at Studio 601, 511 West 25th St*
Donald Judd at Van de Weghe Fine Art, 1018 Madison Ave @ 78th St*
James Siena at the Pace Gallery, 510 West 26th St*
Esteban Vicente: The Garden Paintings at Ameringer McHenry Yohe, 525 W 22nd St
Les Devins at Schroeder Romero & Shredder, 531 West 26th St
Robert Cottingham at Forum Gallery, 730 Fifth Ave, Second Floor
Donald Sultan: New Works at Mary Ryan Gallery, 527 West 26th St
Drawn From Photography at the Drawing Center, 35 Wooster St
2 Photo shows at the Metropolitan Museum of Art, 1000 Fifth Ave at 82nd St
-There’s a drawing and print show here too
Highlights from the collection at the Guggenheim Museum, 1071 5th Ave at 89th St
Lynda Benglis and George Condo at the New Museum, 235 Bowery*
Glenn Ligon: AMERICA at the Whitney Museum, 945 Madison Ave at 75th St *
The bus departs from the parking lot beside Harrison House promptly at 8 am. We'll be dropped off uptown, probably by the Whitney Museum. The bus will depart from the Metropolitan Museum of Art at 8 pm that evening. If you've never been to NYC before, print out a map for yourself and here's a link to a map of the subway system: http://www.mta.info/nyct/maps/submap.htm
Shows with a * beside them denote shows that I'm going to try to see. If you make your way down to Chelsea, you could spend literally allllllll afternoon going in and out of the hundreds of galleries (between roughly 19th-30th Streets, between 10th and 11th Avenues).
Remember that you are required to write a Gallery Review of a show you see on the trip. 1-2 pages, double-spaced, describe what you see, but also be critical (did you like it? Why or why not?). If you cannot make it to the NY trip, you must go to a Baltimore or DC art museum and write about an exhibit you see there. Paper due date TBD.
Juried Show & Salon des Refuses Show: FAQ
Here's everything you need to know about the Juried Show and the Salon des Refuses Show:
Remember to pick up your work from the Gallery by 4 pm on Monday March 21.
What do I do if my piece gets in to the Undergraduate Juried Show?
If accepted, you are required to return the work to the Rice Gallery by Friday April 1, matted and framed, or matted under glass (backed with foam core and attached to glass with mirror clips). Frames should be black or natural wood and mats should be white or middle gray. If your painting is larger than 48" in any direction it doesn't need to be framed, but should have painted sides. If you have any questions about framing, just ask! Work returned unframed or not framed accordingly will be not included in the exhibition.
What do I do if my work was rejected from the Undergrad Show?
If your work was not accepted, one piece that you entered has been accepted into the Salon Des Refuses show. Same guidelines for framing apply for the Salon show, with some variations listed below. Any work not accepted into the Salon show will unfortunately not be included in the student juried shows this year.
So what's the deal with this Salon des Refuses show?
The Salon des Refuses show (or "Exhibition for Rejects") will take place at the Carroll County Arts Center on Main St. in town from April 21-May 11. Work must be dropped off BEFORE TUESDAY APRIL 19th to be included in the show. I may be appointing a student or two to collect work and take it over to the CCAC and will keep you all updated. Work must be ready for installation--framed, wire backing, no saw hooks. The opening reception will take place on Thursday April 21st at 6 pm. You must pick up your work from CCAC by May 15th or it will be thrown away!
When's the opening reception for the Juried Show?
The opening reception and awards presentation will take place on Tuesday April 5th at 7 pm in the Rice Gallery. Best in Show, 1st, 2nd, and 3rd place, 2 Honorable Mentions, and 1 Foundation Award will be given. The show closes on April 15h. All work must be picked up and removed from the gallery by 4 pm on April 15h.
Are there awards for the Salon show?
Yes, there will be awards given out at the Salon show. The CCAC will judge the work and hand out awards at the opening reception.
Unfortunately the quantity of work entered this year was disappointing, so THANK YOU again to everyone who did make the effort to get their work up to the gallery to be juried. If your work was not accepted, don't be discouraged--you never know what sort of work jurors are looking for and why they picked what they did over the other work entered. What matters is that you put your work out there and tried. Good luck and please comply with the timelines and framing guidelines.
Undergraduate Juried Show: Jurying Completed!
Seth Crawford and Jonathan Stonely were on campus today to judge the work entered into the Katherine Wentz Undergraduate Juried Show. Unfortunately, there were not a lot of entries submitted and since Seth and Jon were very, very selective, this will be the smallest Juried show in recent years. THANK YOU to those of you who did enter work and be sure to pick up your pieces on MONDAY MARCH 21! I'll be posting information about the Salon des Refuses show soon.
Thursday, March 10, 2011
From The Design Cove: 12 Paradoxes of Graphic Design
These are great! Go here: Design Cove: 12 Paradoxes of Graphic Design http://bit.ly/eWBTvQ
Out of Order at Maryland Art Place: Call for Artists and Volunteers
Call For Artists
For one day only, Tuesday, March 29, 7am – Midnight, the gallery is open for a do-it-yourself installation on a first-come, first-serve basis. Any artist is invited to participate by installing one piece for a small fee of $10. During the event, all artwork installed will be made available for sale in our highly anticipated silent auction. Proceeds from the sale of the work will be split 50/50 with the artist. Each participating artist will receive one free ticket to the event on Friday, April 1.
Installation Guidelines:
Only one original piece of artwork can be submitted per artist. Artist must be present to hang their own work. (Or, give permission to a friend who can fill out the artist loan agreement completely)
All 2-D and 3-D artwork is welcome, as well as jewelry, ceramics, media, etc., with maximum dimensions of 30" x 30" x 30".
Work must be ready to hang (i.e. hangers and wire securely attached). MAP will provide all necessary hardware for installation, however, the artist is responsible for hanging their own work. Please note, a limited number of pedestals and electrical outlets are available and cannot be reserved ahead of time.
All work must be available for sale and should be reasonably priced.
MAP reserves the right to refuse to exhibit work deemed inappropriate.
Call For Volunteers
MAP is looking for volunteers to assist in running the gallery in three-hour shifts throughout the 7am - Midnight installation period on Tuesday, March 29. Volunteers are responsible for helping artists complete their loan agreements, assisting with installation, answering phones, and general administrative assistance.
In exchange for your services, we provide: complimentary parking during your shift, free admittance to the party on Friday, April 1, food and drinks, along with the opportunity to mingle with artists and other great volunteers!
We also need volunteers to help with the party on Friday, also in three-hour shifts, beginning at 5pm until 1am. Volunteers are asked to assist with signing guests in and selling tickets, bartending, closing the silent auction, wrapping artwork, and providing general assistance to make the evening run smoothly. We ask those volunteers with bartending experience to notify us particularly of those skills (and you can keep your tips!). After your shift ends, we invite you to relax and join us in an entertaining evening filled with great art, music, food, and an open wine and beer bar!
If you are interested in volunteering, please sign up ASAP (by March 25th) by contacting Emily at emily@mdartplace.org or by calling 410.962.8565. Please also make plans to attend a Volunteer Orientation session on Saturday, March 26th at 2:00pm. Further details will be provided upon registration.
Wednesday, March 9, 2011
Jordan's Questions - Reading 3: Art and Objecthood
1.) At the very beginning of the reading he talks about the idea of painting on a surface vs. actual space : Page 118
"A form can be used only in so many ways. The rectangular plane is given a life-span.... Actual space is intrinsically more powerful and specific than paint on a flat surface."
Do you believe this statement to be true or false, any feelings or opinions toward this statement?
2.) It discusses Smith's experience on the turnpike, and to take the question right from the text, "What was Smith's experience on the turnpike? If the turnpike, airstrips, and drill ground are not works of art, what are they?"
What are your feelings toward his experience and the discussion that follows?
3.) At the end of the reading he makes a claim that can be broken down into three propositions. (page 139) What are your feelings or opinions on each of the three propositions? Do you agree or disagree with each proposition of the claim?
This post's for Mike: Dean Foster
Dean Foster is currently a graduate student pursuing an MFA in ceramics at the University of Montana. He's an example of a ceramicist pushing the limitations of the medium, and at the same time he has developed a strong conceptual approach and dialogue with his work.
His artist statement and bio are posted here: http://www.umt.edu/art/graduate/current/foster
And he has his own blog located here: http://www.clayhead.blogspot.com/
AND has listed his email address: dean.foster@umontana.edu (contact him!)
You should also look up the Contemporary Ceramics Association: http://www.ccsaonline.com/home.php and possibly try to join, and look up the World Ceramics Biennale: http://eng.gg.go.kr/entry/biennale (this is a link to 2009's).
Tuesday, March 8, 2011
Modernity Stripped Bare: Undressing the Nude in Contemporary Japanese Photography
Modernity Stripped Bare: Undressing the Nude in Contemporary Japanese Photography
Opening Reception
Wednesday, March 16, 2011
5:00 pm - 7:00 pm
2202 Art-Sociology Building
University of Maryland, College Park
The Art Gallery presents an exhibition of the work of five photographers currently living and working in Japan who have chosen to use the nude to examine how our bodies mediate interpersonal relationships. Modernity Stripped Bare will feature photographs by Ryoko Suzuki, Yurie Nagashima, Ryudai Takano, Riichi Yamaguchi, and Manabu Yamanaka. These works confront a wide range of issues including gender, sexuality, physical deformation, aging, and isolation. "By revealing what is often left unseen, these photographers normalize the bodily experiences that are common to all of humanity and expose how isolation and prejudice are systems that operate by making certain populations invisible or visible only in socially prescribed ways," explains curator Elizabeth Johnson. "The photographers in this exhibition are united in their assertion that we can only come to understand one another if we are willing to see one another."
The public opening reception for the exhibition will be held on Wednesday, March 16 from 5 p.m. to 7 p.m. With the exception of the University of Maryland's spring break from March 21-March 26, the exhibition will be open to the public through Saturday, April 23, 2011.
Subscribe to:
Posts (Atom)