This Thanksgiving, we have thousands of things to be thankful for here at The Art League — each hour of time volunteered; each dollar donated; each artwork, frame, camera, and cupcake you’ve given.
Without your amazing, continued support, it simply wouldn’t be possible for The Art League to meet its mission. Your time, money, and gifts mean that we can nurture the artist through our school, gallery, and programs like SOHO, IMPART, and the Geri Gordon Scholarship fund.
From everyone at The Art League and everyone in the community we serve, thank you, and happy Thanksgiving!
Abstraction of Woman’s Gesture, lithograph by Wijati Soemantoro, was awarded the Eleanor Boudreau Jordan Award for Best in Show.
Gretchen Schemerhorn, November’s juror and a printmaker herself, recognized the lithograph pictured above for best-in-show honors in “Small Works.” Abstraction of Woman’s Gesture, like many of the small works, is simple and minimal, but what made it stand out, Schemerhorn said, was the attractive visual texture and the skill required to create the range of lights and darks.
The artist, Wijati Soemantoro, was an orthodontist in Indonesia before moving to the United States to work full-time as an artist. Earlier this fall, she was selected as one of nine artists who will have solo shows in 2015! Read on for more about the appeal of lithography, the Picasso series that inspired Abstraction, and the idea behind Wijati’s 2015 “Ring of Fire” exhibit.
You work in several different media — what is appealing to you about lithography?
Wijati Soemantoro: I remember how I felt when I had the opportunity to draw on 200-year-old Bavarian limestone. This limestone is considered classic, limited, ancient, heavy and hard to handle but it can give the soft and beautiful images with a greater tone range. At that time when I touched the limestone, I felt the memories of events of the artists who worked with this material before. It brings me to an unfamiliar past while I am living in the present. It was an experience of mixed feelings that I have been looking for. I observed that lithographic process contains 5 different elements of nature: water, oil, metal, stone, and wood/paper. It also contains repetitive actions such as press, push and pull; all those actions and elements represented the vibration that I felt while gathering information about the subject of my drawing. The technique of lithographic processing is very tedious and versatile, but all the hard work and hours spent was well worth it because it satisfies my inner need.
Why was this particular piece a lithograph as opposed to, say, a painting?
In my perspective, both medium are very challenging but also appealing. I made some pieces of art work on a limestone on the theme Abstraction of Woman’s Gesture. This limestone would take my vibration and reflect it, which satisfies my inner need. It gives a more delicate and softer result. I could feel micro vibrations, movements and sensations that were imprinted on the paper after transferring the original lines and images from the stone. Every line represents its own movement, meaning and function. On the other hand, a painting could give me more freedom of expression because it is unlimited in many ways such as color and size. The results of a lithograph and a painting are beautiful to look at.
What’s your creative process like, from an idea to a finished piece?
Abstractions of Woman’s Gesture is a series of artworks, inspired by Picasso’s Women of Algiers. I visited the Smithsonian Museum of Art and directly observed some of the original but different themes of Picasso lithographs. Instead of studying them, I was able to touch, smell and feel what was known to be the oldest form of the drawing on arches and newsprint papers. Afterwards, I utilized my mind and my heart and started drawing from my memory to portray movements and sensations originating from Picasso’s Women of Algiers. I usually draw directly into the limestone without a model or any object in front of me. After all the contents of the drawing are finished, I complete the process by using a standard lithography technique.
The stages of Abstraction of Woman’s Gesture in progress.From Pablo Picasso’s 1954–55 series Les femmes d’Alger dans leur appartement (d’après Delacroix)
Many of your pieces are more representational portraits and figures. What is different about the process for a more abstract piece like this one?
I approach art in two different ways: with my mind and my heart. The final products of my mind are usually more representational portraits and figures. On the other hand, when I utilize more of my heart, it evokes an emotional response. It creates a vibrating sensation through my body. My arm begins to levitate very slowly. The rhythm and motion of my body merges with the art material. This causes my hands to a draw repetitious, fluid, spontaneous, emotive series of forms and shapes. Every curving line has its own color and movement. Together they intertwine to create new abstract forms.
What was your goal with Abstraction of Woman’s Gesture?
To understand the message behind the artist’s work such as Picasso’s Women of Algiers. Abstraction of Woman’s Gesture is not about a woman literally, but about movement, liberation, peace and freedom. I tried to draw without imitating but personalizing what I have learned and inspired from other artists. I am working on both the mind and the heart perspectives. In other words, drawing what I see and what I feel at the same time. To master this technique is my goal and it is an ongoing lifelong learning process.
Three of the prints from Wijati Soemantoro’s “Ring of Fire” series, her response to her experiences with natural disaster, coming to The Art League Gallery in September 2015.
How does your life and arts education in Indonesia influence your work?
I was trained as an orthodontist in Indonesia. I have worked in the dental field for almost twenty-five years. I worked for a free clinic for the less privileged in Ubud, Bali (a small village well known for its culture in dance, music and arts). My artistic ability was a result of living among artists in this village and it continued to grow until I retired from dentistry. Then I started a new life in the US as a full time artist and graduated from Virginia Commonwealth University, majoring in painting and printmaking.
Are there any artists in particular who have influenced you?
Abdul Aziz, Realist Artist, Ubud, Bali, Indonesia
Robert Liberace, Realist Artist, Instructor, The Art League, Alexandria, Virginia
Barbara Tisserat, Associate Professor, Printmaking Department, Virginia Commonwealth University
What are you working on now?
I have been working on a large, non-representational oil painting (6 by 4 feet) inspired by the Gaza Strip, an endless battle between Israel and Palestine. It is still an ongoing process. Also, I am preparing for my lithography solo show at The Art League, “The Ring of Fire,” in September 2015. The Ring of Fire is a series of artwork of my experience towards natural disaster. This is a very personal expression of my empathy and sympathy towards the victims of Mother Nature, especially earthquakes and volcano eruption, which are quite familiar for me as an Indonesian who grew up near the Ring of Fire. I witnessed the explosion of Mount Galunggung in West Java a long time ago. I am planning to explore the dramatic effects of the aftermath and how the victims and people within the vicinity react towards the disaster. To express this idea, it is important to understand Mother Nature and also the victims who are affected.
Your holiday shopping can benefit The Art League, this Saturday through Tuesday
King Street, Winter Evening, watercolor, by Art League instructor Peter Ulrich.
Everyone knows you can’t beat the shopping in Old Town Alexandria. But what if there was a way to make it better? Say, if you could designate your local purchase to benefit The Art League?
[button-blue url=”https://www.theartleague.org/blog/wp-content/uploads/2013/11/Shop-Local-The-Art-League-Inc.pdf” target=”_self” position=”left”]Download the Give Local form[/button-blue]From Saturday, November 30 to Tuesday, December 3, if you shop at any of the Alexandria small businesses below, part of your purchase can go to support The Art League! Just download the Give Local form here, print it out, and hand it over when you make your purchase (we’ve already filled in The Art League’s name for you, but any nonprofit is eligible.) If you don’t have a printer, we’ll have some copies on hand in the Gallery this weekend. Shop Local Week 2013 is hosted by Think Local First DC, the Old Town Boutique District and Causetown.
As an added bonus: you can park for free on Friday, November 29 at all Alexandria parking meters and in all city-owned parking lots. Lots of Alexandria shops are offering Black Friday deals, which you can find at visitalexandriava.com.
So this weekend, come to Old Town and Del Ray, support local businesses, and support The Art League’s outreach programs to boot! A list of participating Alexandria businesses is below, but new shops can join anytime, so check here for the full and up-to-date list.
Thank you to the following local businesses who are participating (as of Nov. 26):
fibre space (1219 King Street, Alexandria, VA 22314)
Give Back Amount: 20% of your purchase
Olio Tasting Room (1223 King St, Alexandria, VA 22314)
Give Back Amount: 15% of your purchase
Pink & Brown (1212 King St, Alexandria, VA 22314)
Give Back Amount: 15% of your purchase
Red Barn Mercantile (1117 King St, Alexandria, VA 22314)
Give Back Amount: 20% of your purchase
The Potomac Bead Company (1104 King Street, Alexandria, VA 22314)
Give Back Amount: 15% of your purchase
Today’s Cargo (1102 King St, Alexandria, VA 22314)
Give Back Amount: 15% of your purchase
Hooray For Books! (1555 King St, Alexandria, VA 22314)
Give Back Amount: 15% of your purchase
Bishop Boutique (815B King St, Alexandria, VA 22314)
Give Back Amount: 10% of your purchase
Stuart Nordin Home & Design (101 S Saint Asaph St, Alexandria, VA 22314)
Give Back Amount: 15% of your purchase
Mint Condition (103 S. Saint Asaph St, Alexandria, VA 22314)
Give Back Amount: 10% of your purchase
529 Kids Consign (122A S Royal St, Alexandria, VA 22314)
Give Back Amount: 10% of your purchase
Gossypia (325 Cameron St, Alexandria, VA 22314)
Give Back Amount: 15% of your purchase (designated cause: Lungevity Foundation)
La Cuisine (323 Cameron St, Alexandria, VA 22314)
Give Back Amount: 15% of your purchase
Hysteria (125 S Fairfax St, Alexandria, VA 22314)
Give Back Amount: 15% of your purchase
The Shoe Hive (127 S Fairfax St, Alexandria, VA 22314)
Give Back Amount: 20% of your purchase
She’s Unique (205 King St, Alexandria, VA 22314)
Give Back Amount: 10% of your purchase
The titular Inn at James City is a subject the artist had been thinking about for years before executing it in the print above, a relief engraving that was accepted into “Small Works” and recognized with the third-place award. The juror, Gretchen Schermerhorn, praised the artist’s use of a subtractive technique to create a range of dark and light values.
We talked to the artist, M. Alexander Gray (Facebook page/Etsy shop) about his printmaking process and influences.
Why are you a printmaker? Why engraving in particular?
M. Alexander Gray: I can trace my interest in printmaking to a college instructor who said my pen drawings reminded him of Albrecht Durer’s woodcuts. Over the years since then I have come to appreciate printmaking as an extension of — and improvement upon — drawing. Actually, this piece isn’t a true engraving. It is a relief engraving, which is the same as a wood engraving but executed on a synthetic surface (Resingrave) instead of end-grain hardwood. After doing a lot of reading about woodcuts in early college, I discovered wood engraving, which is a similar technique but capable of a greater level of detail than a woodcut. Wood engravings also tend to be quite small, which is of course the theme of this show.
Can you briefly explain what the process is to make a print like this?
For me, drawing is fundamental to the printmaking process, so I always begin with that. With some of my other relief prints, the carving process is basically engraving/carving away every part of the block’s surface that isn’t part of the drawing. On this piece, however, I tried to “translate” the pen and ink drawing into the language of wood engraving — that is, expressing value by engraving lines and dots in varying patterns. Wood engravers of the nineteenth century were amazingly good at this, and I am humbly imitating their technique.
Inn at James City in progress: the drawing, top, and engraving the Resingrave plate.
What’s your creative process, from an idea to a finished piece?
I see something that inspires me, usually a place, building, or landmark, and I go and take photos of it. Sometimes the places I choose are drawn from my past, other times I discover neat sites from research on the Internet. Then I’ll make a drawing, directly on the surface that I will be working on, be it copper or wood. The engraving can be done by hand with a tool called a burin, but in this case I used tiny rotary drill bits to work the surface. Once the engraving process has reached a certain point, I will take a proof of the block and use that as I guide to further engrave the piece until I am content to call it finished. Then I will print an edition of the piece.
Are there any differences between wood engraving and a woodcut other than scale?
Besides scale, wood engravings allow more detail and freedom of design because they are executed on the end-grain of wood, which means you can engrave freely in any direction. Woodcuts are done on side-grain blocks, and if you cut across the wood grain, the surface will splinter. For woodcuts, one uses tools like knives and gouges whereas with wood engravings, you use burins and gravers of various types as you would if you were engraving copper.
What and where is the Inn at James City? What was your goal with this piece?
The Inn at James City is a deserted building that I have noticed on my frequent drives between Alexandria and Charlottesville. It is a very noticeable structure beside Route 29 because of its impressive size and its obviously historic construction (from the nineteenth century if not earlier). I had often thought that it would make a good subject for a print. About a month after I visited it to take pictures they threw up an ugly chain link fence around the property, so my timing was opportune.
My goal was to further explore the technique of wood engraving as well as create a piece I had contemplated for several years but never actually executed.
What was your first experience with art as a child?
I don’t recall my very first experience with art but I loved to draw as a kid. As a child I was very attracted to illustrated books and photos in magazines. I had an art teacher in first grade who really made an impression on me as she shared paintings by Munch and Rousseau with our class.
Are there any artists in particular who have influenced you?
Many … Thomas Bewick, Albrecht Durer and all of his northern Renaissance contemporaries, Andrea Mantegna (his engravings) and Piranesi, just to name a few. In terms of more recent artists, there was a 20th century American printmaker named Asa Cheffetz who did lovely landscapes of the mountains of New England.
What are you working on now?
Right now I am just starting a series of prints based on the aqueducts of the C&O Canal. One piece is nearly completed, and I have made a couple trips to western Maryland to take references photos.
See below for upcoming exhibits, contests, and everything you can enter or apply for. You can click the banner above to view recent opportunities posts. This week’s banner: detail from a painting by instructor Marsha Staiger.
Good luck!
Art in the Open
Deadline: December 15. Professional artists working in all media are invited to participate in Art in the Open 2014 (AiO). From Friday, May 16 through Sunday, May 19, artists will use Philadelphia’s Schuylkill River Banks as their studio space, creating art “outside, on- site.” More on Art in the Open →
Exhibit proposals: Bethesda
Deadline: ongoing. River Road Unitarian Universalist Congregation (RRUUC) in Bethesda, Maryland invites proposals for exhibits to be displayed in the gallery of its Fellowship Hall. The gallery is 42 by 43 feet, with one full wall of windows. Two walls are available for hanging art with approximately 60 feet of wall space. Exhibits are about six weeks in duration. Proposals are welcome year round from individuals or groups, with rolling acceptances. There is no entry fee. RRUUC charges a commission of 20% on work sold. More on exhibiting at RRUUC →
In case you missed them, these announcements from recent posts have deadlines still to come:
Virginia artists
Deadline: December 1. Artists residing in the state of Virginia are invited to submit works for the Virginia Museum of Contemporary Art’s (MOCA) annual juried exhibition, “New Waves 2014.” More about the exhibit →
Art in City Hall Deadline: December 6. The Art League and the City of Alexandria, in conjunction with the Mayor’s initiative to promote the arts citywide in Alexandria, continue to support Art In City Hall. This juried exhibit enhances the environment of Alexandria’s City Hall and promotes the talents of local artists. The exhibit will be juried by an outside, independent expert in the arts, and will hang for eight months on the second floor of the Alexandria City Hall. Members of The Art League, Del Ray Artisans, the Torpedo Factory Artists’ Association, Empowered Women International, and Convergence Art Center are invited to participate. This fall, the exhibit theme is “Intersections of Art and History.” More about the exhibit here →
Bethesda Fine Arts Festival Deadline: December 6. The Bethesda Fine Arts Festival (May 10 & 11, 2014) features 130 booth spaces. The Bethesda Arts & Entertainment District advisory committee will select the artists. All original fine art and fine craft is eligible to apply. More about the festival →
Myths & Legends
Deadline: December 6. This exhibit at the Annmarie Sculpture Garden & Arts Center in Solomons, Maryland celebrates works of art that bring to life fantastical myths, legends, fables, folktales, fairy tales, and the like. More about the exhibit (PDF) →
Northern Virginia Fine Arts Festival
Deadline: December 7. The Northern Virginia Fine Arts Festival (May 2014) is produced by the Greater Reston Arts Center and is a competitive, juried, outdoor event showcasing the best contemporary fine art and craft from around the country. The Festival is held in the streets of Reston Town Center, an upscale, elegant, shopping destination. More about the festival →
Artists in Action
Deadline: December 13. Annmarie Sculpture Garden & Arts Center in Solomons, Maryland seeks artists working in any media to submit proposals to set up a working studio space in the Main Gallery for 1-2 week periods. More about the call (PDF) →
ArtFields
Deadline: December 13. Submissions are open for ArtFields, an Artfest Competition and Celebration to be held in the historic community of Lake City, South Carolina. Emerging and professional artists can submit one piece of 2-D (no larger than 72″ x 72″) or 3-D artwork. Selected artists will be invited to exhibit their work in one of the historic downtown Lake City venues, from a former mercantile to a barbershop for ten days. Art competition winners will be determined by popular choice and juried panel votes. Voters will have to be present in Lake City, SC to cast their votes during ArtFields. Cash prizes totaling $100,000 will be awarded to winning artists. More about ArtFields →
Thank you to everyone who came out to celebrate with us at Artfête this weekend! It was a big success. There was a lot to see and do, including the famous steamroller printing, …
The Art League is auctioning three steamroller prints from this woodcut by Steve Prince and Art League artists. Click here to bid!
…a fashion show of wearable art, …
… instructor demos, …
… and, of course, the ever-popular ceramics and jewelry sales.
We can’t blame you if you didn’t see it all — so to see all our photos from the weekend’s events, take a look at this photo album on Facebook. And don’t forget — you can bid on one of three steamroller prints from Artfête through Tuesday at 8:00 pm by clicking here.
Working with a minimum of brush strokes and a limited palette, artist Maria Valle-Riestra translates a mood and a personality onto paper for Poise, the ink painting in the image to the left. Juror Gretchen Schermerhorn recognized Poise with a second-place award in “Small Works,” open through December 2.
In our Q&A, below, we asked her more about water media, her background in dance and science, and her upcoming exhibit down the street.
Why ink and watercolor?
Maria Valle-Riestra: Water is a huge component of the earth and of life. Ink and watercolor are water media. This relation is charged with symbolism, important to me, but does not explain why I favor ink and watercolor as my main media. There are other reasons. One of these is that in my paintings I try to achieve a sense of motion on the paper; for this I find the liquid nature of ink and watercolor very appropriate, and enjoy allowing the pigment rich liquid media do on paper what its nature commands: move, blossom, precipitate pigments, drips, etc. Oceans in motion are a main theme in my paintings and watercolor seems the natural media to use.
What do you think makes a good figure painting?
For me a good figure painting is one that draws me into it by making me imagine a physical, emotional or psychological state of the person portrayed. In my case most of the figure drawings/paintings are created from models in art open studio sessions. The initiation for any of these pieces occurs at the moment I enter the studio and meet the model of the day. The personality, body language, mood and spirit he/she projects will set the direction of my work. The pieces are a result of an inner impulse and do not depend on much premeditation or preparatory sketches. Throughout the drawing session I try to stay connected to this directing “mood” and express it with my brush and pen. I like my drawings to be somewhat anatomically proportioned, however I avoid drawing them with too much knowledge of anatomy in mind.
What’s your greatest challenge as an artist?
To develop a distinct style of my own without falling into repetition. To work consistently creating new pieces that excite me and motivate me to continue working. To not lose the awe and wonder of seeing the world beyond the obvious.
What was your first experience with art as a child?
My parents exposed to me to many forms of art at a very early age. I would accompany my mother to museums and concerts as a child and enjoy myself immensely even at a young age. The artistic world was enticing and mysterious to me. My dad was not an artist, however he would draw the most beautiful horses, birds and more and I would love to see how he built the images as if by magic. There was no better gift than coloring books and the big size Crayola box (something not easy to get at home in Lima, Perú in the early 70s) and no better plan at home than coloring in these books. However outside of the home I developed a huge passion and dedication to dance and convinced my parents to take me to dance classes every afternoon after school. I have uninterruptedly been a dancer since 8 years old.
How has your background in dance and biology influenced you?
When dancing you are constantly constructing designs and patterns in space through movement; spirals, long and short lines, circles; all of which can be executed with different qualities of time, strength, rhythm, etc. These perfectly translate into drawing and painting. The momentum of a pen line performed securely in non stop manner across a big sheet of paper is very different from small weak squiggles, a forceful brush stroke or a light and suspended one have different qualities on paper as they do in a dance. The choice of one or another depends on what I want at the moment of execution. Dance also creates scenes, atmospheres, little stories on stage and this “theatricality” I try to carry into my paintings too. Regarding my past in the biology field I have to say that I had wondrous visual experiences while looking through microscopes. Images of amazing beauty hidden from the regular eye there to discover. As a scientist you learn to interpret the images you are seeing, there are many layers of focus and bringing out what is important for clarity and meaning is fascinating. When looking at my subject matter for my paintings, I try to focus on something in particular that conveys some kind of meaning. Also I like to have particular places on the page with multiple layers and life of their own.
Maria’s Evolution Walk in watercolor from the May 2012 “Bedtime Stories” exhibit.
Are there any artists in particular who have influenced you?
Many artists have influenced me. For figure paintings: Egon Schiele (my favorite), Lucien Freud, Oswaldo Guayasamin (for his expressive hands), Frida Kahlo (for her personal storytelling), Marlene Dumas. Pablo Picasso and Henri Matisse’s contour figure drawings. Land and Seascapes: Katsushika Hokusai, Milton Avery, Georgia O’Keefe, Lawrence Goldsmith among others. I also want to mention Jackie Saunders and Steve Fleming, both artists who were very important teachers in my development as a visual artist.
What are you working on now?
Right now I am very busy preparing for an upcoming solo exhibit titled HOMBRES that will be on display at Artspace 109 (109 North Fairfax Street, 3rd Floor, in Alexandria) from December 5, 2013 to January 5, 2014. The opening reception is December 12 from 7:00 to 9:00 pm and everybody is welcome. Twenty-five watercolor paintings focused on the male nude figure will be on display.
On the creative side, I religiously work every Monday in the Open Life figure drawing sessions at The Art League. This keeps up my practice and discipline of drawing from live models. Apart from this I have ongoing projects for other paintings that I work in my improvised studio at home. I have what I call a thematic series of paintings which I go back and forth, among which the strongest is the ocean.
Surf, waves and the zone of clash between land and water are among my main themes. Trying to capture and translate the essence of the power of oceans or rivers on a piece of paper is challenging and a work in progress. Trees encompass another series, these I approach more in the way I do figures, as characters of their own, but with more liberty of distorting and telling multiple stories in each branch. Finally I have a series of more autobiographical paintings “My stories” were I represent myself in action as main character. These self paintings I paint less often because it drives me a bit crazy to focus so much on my own internal psychology.
In all my works I look for places of tension and places of release, two opposite emotional and physical states that are of interest to me.
Artfête Open House & Holiday Party
Friday, November 22, 6:00–9:00 pm Full schedule of events
If you didn’t catch the steamroller printing action last year, you’re in luck: this Friday, you have another chance. The steamroller is returning for the Artfête Open House & Holiday Party!
[button-blue url=”https://www.theartleague.org/blog/2013/11/19/artfete-weekend-guide/” target=”_self” position=”left”]More on Artfête →[/button-blue]
For the kickoff Artfête event, artist Steve Prince and a group of community volunteer artists created two sets of woodcuts. Friday evening at Artfête, you can see the blocks inked and printed by steamroller. You have two chances, at 6:00 and 8:00 pm. The printings will take place on Madison Street in front of the Annex.
About the print: This year’s community print is a special celebration of The Art League’s 60th anniversary, coming up in 2014. And if you make a donation at the Easel Level or above during Artfête, you’ll get a piece of this original art!
Plus, if you bring your Annual Fund donation to the Artfête Holiday Party on Friday, you can double your gift’s impact! Thanks to a generous commitment from MRE Properties Inc.’s Montgomery Center (home to our Madison Street Annex) and Burke and Herbert Bank, donations to the Annual Fund made at Artfête will be matched again this year! (You can bring a check, credit card, cash, or make a pledge.)
Volunteer artists working on the community print.Steve Prince inking a woodcut.An edition printed by more conventional means.
Last week was the end of Fall classes here at The Art League School, which also meant it was time for my latest artistic venture to come to a close. All I had left to do was sand and polish my sculpture.
I spent some of the weekend sanding at home, then finished removing the last nicks and scratches in class. The shape of the sculpture didn’t change any, but sanding really brought out the beauty of the stone, which was a huge improvement.
But what really sealed the deal was the wax, which lets more of the color and translucency come through:
The finished sculpture. (click for full size)
There are things I would change if I were to redo the project, but I’m definitely proud of it. And I accomplished what I set out to prove, which is that a beginner can take a class here with no experience and be successful. It only took eight classes, too; you can see the weekly progress in the video at the top of this post.
I still need to do a little house cleaning before this sculpture gets its place of honor. Nick, the instructor, also suggested that I attach a base, depending on where the sculpture goes, to protect the sharp bottom edge. It also needs a title — leave a comment if you have any suggestions!
So there it is! You’ll be able to see it for yourself at the Student/Faculty Show in February, along with lots of other work from all the classes here. If you missed last week’s post with photos of the other sculptures my classmates were making, be sure to check it out.
Wetlands, Silver Lake, Haymarket, VA, oil on canvas, by H.K. Anne (click for full size)
If you’ve been to The Art League Gallery this month, you remember seeing the painting above. H.K. Anne paints large, and this triptych easily fit the criteria for “Large Works” at 5 feet tall by 12 feet wide. Wetlands, Silver Lake, Haymarket, VA was recognized with the Cora Rupp Award for best in show, and you can see it in person through December 2.
We asked the artist to tell us more about large canvasses, her art career, and her love of paint. It’s in our Q&A, below.
Why are you a painter?
H.K. Anne: I love paint. I love drawing with the charcoal on the stained canvas. The colors excite me. When I mix the pigment and mixing medium together to a soupy consistency, but with some body, and mop it on the canvas, I love it!
Why landscape? What’s your goal with any particular landscape?
I have always been all over the map with the subject matter. In 2005, I returned to school for a MFA in Painting at Western Connecticut State University. I had a lot of success in plein air painting there. When in the studio, Professor John Wallace encouraged me to paint large canvasses. Professor Margaret Grimes suggested that we landscape artists were in the lineage of the Hudson River Artists of the nineteenth century. It took me a while to associate myself with these American landscape artists, but I have now.
Many of the Hudson River artists’ paintings were panoramas of the landscape used as a metaphor for the possibilities of this new country. Most of my landscapes are up close and complicated, which I feel reflects our time in history. We are confronted with so much information, locally, nationally and internationally.
“You enter the forest at the darkest point, where there is no path. Where there is a way or path, it is someone else’s path. You are not on your own path. If you follow someone else’s way your are not going to realize your potential.” — Joseph Campbell, The Heroes Journey
I invite viewers to journey through my landscapes finding their own paths. My paintings have a lot of energy and sometimes one has to step back to take it all in. Just as in life, sometimes you have to take yourself out of the picture. Take the long view before you engage again.
I hope viewers enjoy the journey.
Detail from the painting’s center panel.
What’s the story behind the wetlands in the painting? Are all your paintings this large? What makes the large size work for this one?
I work from photographs which I take (still using my 35 mm 800 film). I kept reading about Silver Lake near me here in Haymarket, Virginia, and wanted to take some fall photos. In October, 2012, I woke up to the radio which was reporting that Hurricane Sandy was coming through that day. I thought I want to get to Silver Lake before all the leaves are blown off the trees. When I arrived, there were no trees…at least not many. The landscape was an open field, water, high grasses, deer droppings, light rain, wind and a threatening dark sky. I felt like I could have used an orange jacket. The area was wide open. I was the only person around.
I take many photos whenever I go to an area. I want to get a real feel for the place. When I received my photos (4″ × 6″), I was very pleased with the results. I did a series of Silver Lake paintings — 36 × 36, 30 × 40, 36 × 48, 48 × 60 — and then decided to do the triptych to give the viewer the feeling I had when I was out there. I think the 60 × 144 conveys it well.
I do paint large canvasses (60 × 48, 48 × 48, 40 × 30, etc.). My daughter encourages me to paint 30 × 40, so that I can get them in my car. By the way, if anyone would like to see more of this series, they are available in Studio 512 at the Workhouse Arts Center in Lorton, Virginia. (H.K. Anne’s website)
When did you know you wanted to be an artist? Any advice to an artist just starting out?
I do not know when I wanted to be an artist. I could draw as a child. Took my first oil painting class at eighteen. More classes at John Herron Art School in Indianapolis, Indiana, and the Indianapolis Art League. Was a docent for fifteen years at the Indianapolis Museum of Art. Went to Sarah Lawrence College in the 90s, where my focus was on nineteenth century European art history and studio arts. Back to school in 2005 for a MFA in Painting at Western Connecticut State University. Moved to Virginia in 2008 and was fortunately juried into the Workhouse Arts Center in Lorton, Virginia, where I have a studio. I always kept my fingers in art, and it came together for me.
H.K. Anne’s studio
I would advise an artist starting out to take all the art history available to them, any studio art (they feed on each other), and never throw anything out. You never know when you will need to put a portfolio together.
Are there any artists in particular who have influenced you?
Professor John Wallace, WCSU, who encouraged me to paint large. Professor Margaret Grimes, WCSU, who suggested that we are in the lineage of the Hudson River School. Professor Marjorie Portnow, WCSU, for her great critiques and en plein air instruction.
I reference Vincent Van Gogh for his unusual choices of color (and I just like to read about him).
When I had a residency at Vermont Studio School, Johnson, Vermont, the artist critiquing my work suggested that I take a look at Joan Mitchell’s paintings. I have been reading and studying her work. I think she has more “air” in her paintings than I do. But I will continue.
What are you working on now?
In early November I visited River Bend Park and Great Falls National Park to take some fall pictures. I have six 48 × 48 canvasses in my studio and four 60 × 108 canvasses in my garage. I am doing a series of Great Falls, Virginia landscapes.
This weekend, The Art League School opens up its doors for the annual Artfête Open House, Holiday Party, Ceramics Sale, and Jewelry Sale. There’s a lot going on — including a fashion show and a steamroller printing — so to make sure you don’t miss anything, here’s the definitive guide to everything that’s happening!
Click here to add all of the Artfête events to your calendar.
Location:
All Artfête Weekend events take place at the Madison Annex, 305 Madison Street in Alexandria. (View on Google Maps.) This is our main classroom facility and home to sculpture, painting, photography, stained glass, mosaic, ceramic, drawing, jewelry, fiber arts, and printmaking classes!
Where should I park? Street parking is available around the Madison Annex without restrictions after 6:00 pm and on weekends. Friday after 6:30 pm and all weekend, the general public may park for free in the parking lot behind Sport & Health (entrance is on Montgomery St. just east of the intersection with North Fairfax St.)
Map of Friday’s events — click for full size
Artfête Open House
This is the kickoff event for the whole weekend and your chance to see what goes on in Art League classrooms. Doors open at 6:00 pm and the party continues until 9:00. Orquesta Tropikiimba will be performing live music, and admission is free!
6:00 & 8:00 pm: Steamroller printing
7:00 pm: Fashion show
All night: Live music, refreshments, exhibits, instructor demos (see below for a list), Holiday Ceramics Sale and Jewelry Sale (starting at noon and open during the party), wearable fiber art for sale
Steamroller printing
If you missed this unique printmaking demonstration last year, this is your second chance! Artist Steve Prince and a group of community artist volunteers created woodcuts which will be inked and then printed live using a steamroller. (There’s a peek at the 2012 print on YouTube.)
When & where: 6:00 & 8:00 pm at the Madison St. entrance.
Fashion show
Our fiber arts and jewelry classes will be showing off what they made this year in an Art League fashion show. See our students and their wearable art on the runway!
When & where: 7:00 pm in the SOHO room (the room toward the back of the building with the long ramp).
Instructor demos
If you’re wondering what class to take, or you’re just curious what our students are up to, a number of Art League instructors have prepared presentations, demonstrations, and hands-on activities. Stop by and say hello!
When & where: 6:00–9:00 in the rooms below (individual instructors’ schedules will vary).
Stained glass: Jimmy Powers, room 2 (next to the sculpture studio)
Mosaics: Gene Sterud, room 5 (by the front entrance)
Calligraphy: Hermineh Miller, room 5
Printmaking: Silk Screen with Nancy McIntyre, room 5
Sculpture: Facial Reconstruction with Joe Mullins; Kinetic, Sonic, & Light Sculptures with John Kauffman (both room 5)
Ceramics: Blair Meerfeld, room 10
Fiber arts: Rugmaking with Michael Heilman, Silk Painting with Denise Vauthier, Surface Design with Candi Edgerly, Spinning, and Weaving (rooms 9 & 10)
Jewelry: Nick Barnes and Gretchen Raber, room 7
Holiday Ceramics Sale
Handmade bowls, tiles, cups, teapots, and more — this is your weekend to find a truly one-of-a-kind gift, or a piece for yourself! This annual sale features affordable ceramic vessels and sculptures created by students and ceramics associates of The Art League School. You can find the sale in our ceramics studio — from the entrance at 305 Madison Street, go down the hallway to your left and take the first door on the left.
This annual sale of handmade jewelry by Art League students and teachers showcases a variety of metal work based on the techniques taught in Art League classes. Earrings, necklaces, bracelets, brooches, and more are available for all tastes and budgets. You can find the jewelry sale in the main hallway of the Madison Annex, at the end of the hall on your left coming from the 808 N. Fairfax St. entrance, or on your right coming from the sculpture room. Please note that the Jewelry sale is Friday and Saturday only.
See below for details on upcoming exhibits, contests, and other announcements. You can click the banner above to view recent opportunities posts. This week’s banner image: detail from a painting by Art League instructor Rick Weaver.
Hillyer Art Space
Deadline: Friday, November 22, 6:00 pm. Hillyer Art Space invites artists to submit to its current Open Call for Artists for the 2014-2015 exhibition season. Artists must live the DC Metro area and can’t have had a solo exhibition within the past three years. More about the call for artists →
Smithsonian Magazine Photo Contest
Deadline: November 29 at 2:00 pm. The 11th Annual Smithsonian Magazine Photo Contest is open to photographers ages 18 and over. Submitted photographs must have been taken since January 1, 2011. Enter photographs in any of five categories: the American Experience, the Natural World, People, Travel and Altered Images. More on the photo contest →
Tokens & Sentiments
Deadline: December 27. On February 7, Capitol Arts Network will open “Tokens and Sentiments,” a juried exhibit featuring artwork, poetry and more. Photography, painting, mixed media and poetry will be considered for this exhibition at Capitol Arts Network. Think out of the box with your florals, artwork, designs, poetry, and more to offer your real life version of a valentine in this modern age. Works large and small will be considered. More on the exhibit →
Reminder: NoVa Fine Arts Festival
Deadline: December 7. The Northern Virginia Fine Arts Festival (May 2014) is produced by the Greater Reston Arts Center and is a competitive, juried, outdoor event showcasing the best contemporary fine art and craft from around the country. The Festival is held in the streets of Reston Town Center, an upscale, elegant, shopping destination. More about the festival →
The Art League School said goodbye Saturday to a longtime teacher as former and current students joined Chuck Johnson to wish him a happy retirement. The article below, written by a student of Chuck’s, was originally published in the Winter issue of Brush-Up from The Art League School.
After more than 18 years of challenging students to “dare to be great” in his Art League sculpture classes, Charles “Chuck” Johnson has announced his intent to retire at the end of the fall 2013 term. Following a stint as a pilot in the Army Air Corps during World War II — where he flew B-29s, B-25s, B-17s and P-38s — and a Foreign Service career with USAID, Chuck has taught sculpture in the DC area for nearly three decades. In addition to The Art League School, he also taught for many years at the Washington Studio School in Georgetown and Montgomery College in Rockville.
Chuck’s students — past and present and from around the globe — recently honored him with a book of tributes entitled “You’re the Artist: A Celebration of Chuck Johnson’s Studio at The Art League” which can be previewed in its entirety here. Many of his students have been studying with him over a decade and some over two decades! “You’re the artist” is one of the many Chuck-isms his students have come to know and love.
Perhaps one of Chuck’s greatest legacies as a teacher has been his ability to help students identify and develop their own individual style of sculpting rather than teaching them to sculpt like someone else. This gift is reflected in the fact that many who have studied with him are recognized artists in their own right.
With instruction as a top priority, Chuck also nurtured an environment of creative camaraderie in each of his classes. Laughter has always been part of the equation and classmates have grown to be friends over the years … and they promise to “get the gesture” as they continue to apply the invaluable lessons about sculpture – and life – learned in Chuck’s classes.
Happy retirement, Chuck!
— Cindy Kellams
The retirement party cake, with Chuck and one of his favorite sayings.
A bittersweet moment, for sure, but my sculpture also turned out very nicely, I think. I’ll share the final product in a post next week, but today, I thought I’d fill you in on what some of the other students in my class are doing. I interviewed Alfred and Stephanie in the video above; here are some of the others:
Amy’s original plan was to do a pisces symbol with two fish, but the stone she got was closer to the shape of a single fish, and looking fishier every day.Lisa was carving a mermaid out of a nice chunk of walnut.Alfred’s walrus seal in alabaster.Joseph was working on a few sculptures over the weeks, in both stone and wood, including this abstracted figure in walnut.Stephanie’s abstract sculpture is alabaster, but a very different color from my own stone. Here you can see she sanded and polished it to a high sheen.
Food art in this month’s “Small Works” show. (The cover image for this post is a detail from Kaye Jones’ watercolor, Grandmother’s Pantry.)
Bring a donation of nonperishable food the next time you come by the Torpedo Factory, and you can help feed the hungry!
United Community Ministries (UCM) is a private, non-profit, community-based social services agency that assists low-income families and individuals in Northern Virginia. Please help us build UCM’s food bank by bringing cans of food anytime through December 20. In 2011 we collected over 200 pounds of food for this worthy organization. Help us beat our own record!
You can drop off food in the box marked “Holiday Food Drive” in front of The Art League Gallery (studio 21 on the first floor of the Torpedo Factory). UCM has a list of their most-needed items here.
You can meet photographer Everitt Clark and the artists behind “Small Works” and “Large Works” at the gallery’s opening reception tonight, November 14, at 6:30 pm.
Watch the video above to hear about Everitt’s experience shooting black-and-white photos with a large format film camera, and a look at what’s involved in taking and developing one of these pictures.
This Second Thursday Art Night at the Torpedo Factory is photography-themed for FotoWeekDC. You can find The Art League Gallery in Studio 21 on the first floor of the Factory. See you there!
Work from “Large Works” and “Small Works.” Foreground: The Gang’s All Here, terra cotta by Janet Legg.Some of the prints in “Cities in the Air.” Everitt Clark develops his photographs using the silver gelatin process.Foreground: sculpture in “Small Works.” Background: Wetlands, Silver Lake, Haymarket, VA, triptych by H.K. Anne, winner of the Cora Rupp Award for best in show in “Large Works.”
You may have seen some new faces around The Art League lately. Come say hi! To break the ice, we’re going to be introducing you to everyone around our offices at the Torpedo Factory. Our next contestant: Vida Torres at the School!
Vida started at The Art League in September, and as the School Registration Assistant, she wields the stamp you see above. If you’ve called the School with questions or come by the office to sign up for a class, Vida’s probably helped you out.
How’s life these days? Any recent big events in your life you’d like to share?
Life is peachy-keen! I just recently got married and am currently enjoying life as a newlywed.
What’s your arts background?
I graduated from the University of Mary Washington with a BA in Art History, and a bunch of Studio Art classes under my belt. I’ve never considered myself a full-fledged artist, but ever since I was a kid, I would dabble in drawing and collage. In school, I really got into digital art after I took a class, and it has been something that I have found myself very drawn to ever since.
Why digital art?
I really appreciate the variety and complexities that go along with digital art. It is such a flexible medium and I feel that it is a very accessible medium. For me digital art is not as intimidating as painting.
Where did you grow up? When do you remember becoming interested in art?
I grew up an Army Brat. My dad served for over 30 years so we moved around quite a bit. I mostly consider Michigan, where I graduated high school and where my Dad is from, and Washington, DC, where my Mom is from, home. I have always been surrounded by art; my mom kept various pieces around the house from all our travels, and I was exposed to a lot of art during our tours of duty in Italy and Germany. My brother is also very artistically inclined (way more so than me!) and I have a few of his pieces hanging around my house.
What class would you most like to take?
I am considering taking a Metal Jewelry class this term because it would be something different for me, and seems like it would be very enjoyable. I also plan to take a Photography class with my Mom, who has really developed a passion for it.
What’s your role in the school? How are you liking it so far?
I am the School Registration Assistant, and so far I am really enjoying it! Everyone in the Art League has been incredibly warm and welcoming, and I always look forward to coming in everyday. I also really like that being in this position gives me the chance to interact with students, instructors and staff everyday. I’m a very social person, so being right in the middle of the excitement is one of the best parts about this position for me.
See below for details on upcoming talks, exhibits, and calls for artists. You can click the image above to view recent opportunities posts. This week’s banner image: a detail from the painting Coastal Route 1 by Art League instructor Susan Abbott.
Peter Bottger on Rodin
Friday, November 15, 12:30 pm. Peter Bottger — sculptor, Art League instructor, and Corcoran College of Art & Design adjunct faculty — is giving a free talk on Auguste Rodin’s The Walking Man as part of the Hirshhorn’s Friday Gallery Talks. More about the talk →
Networking lunch at the Torpedo Factory
Thursday, November 21, 12:00 noon. Bring your own lunch and join artists from around the region as we explore common interests, share insights to the business, and explore collaborations.
Art in City Hall
Deadline: Friday, December 6. The deadline has been extended to enter Art in City Hall. More about the exhibit here →
ArtFields
Deadline: December 13. Submissions are open for ArtFields, an Artfest Competition and Celebration to be held in the historic community of Lake City, South Carolina. Emerging and professional artists can submit one piece of 2-D (no larger than 72″ x 72″) or 3-D artwork. Selected artists will be invited to exhibit their work in one of the historic downtown Lake City venues, from a former mercantile to a barbershop for ten days. Art competition winners will be determined by popular choice and juried panel votes. Voters will have to be present in Lake City, SC to cast their votes during ArtFields. Cash prizes totaling $100,000 will be awarded to winning artists. More about ArtFields →
United States Coins and Medals
Deadline: January 10, 2014. The United States Mint is seeking artists interested in taking coin and medal design in new directions and trying new approaches as part of our endeavor to ensure that the designs on United States coins and medals are of the highest quality to best represent our country for years to come. The Mint will award contracts to up to 20 artists to participate in the United States Mint Artistic Infusion Program. More about the program →
Torpedo Factory jurying
The Torpedo Factory Artists Association has announced the dates for next year’s Visiting Artist Program and the Annual Membership Jury:
Visiting Artist Program deadline: January 31, 2014
Annual Membership Jury: March 24, 2014
Informational sessions about the annual membership jury will be offered Sunday, January 26 and Sunday, February 23 at 2:00 pm. For more information going forward, bookmark torpedofactory.org/vap and torpedofactory.org/jury, which will be updated soon.
P.S. In case you missed it, be sure to check last week’s opportunities for several more exhibits it’s not too late to apply for.
Foreground: sculpture in “Small Works.” Background: Wetlands, Silver Lake, Haymarket, VA, triptych by H.K. Anne, winner of the Cora Rupp Award for best in show in “Large Works.”Foreground: The Gang’s All Here, terra cotta by Janet Legg.
This month, The Art League Gallery asked our artists to go big, go small, or go home. That’s right — “Large Works” & “Small Works” are here again!
These popular annual exhibits always bring out some great work, with size as the only limiting factor (larger than 28″ x 40″ or smaller than 6″ x 8″ — no middle ground here). As an added bonus, many of the “Small Works” are affordably priced, just in case you were thinking of holiday shopping.
Also opening this month is “Cities in the Air,” Everitt Clark’s exhibit of black-and-white photographs, each shot with a large-format camera and developed by Clark in the darkroom. We’ll feature more about this exhibit, coinciding with FotoWeekDC, in an upcoming post.
“Large Works,” “Small Works,” and “Cities in the Air” are open through December 2. Join us for the opening reception next Thursday, November 14 at 6:30 pm!
More photos below:
Some of the prints in “Cities in the Air.” Everitt Clark develops his photographs using the silver gelatin process.The three award winning “Small Works,” clockwise from left: Abstraction of Woman’s Gesture, by Wijati Soemantoro, Inn at James City by M. Alexander Gray, and Poise by Maria Valle-Riestra.Architecture Inside & Out, 3-D collage by David Alfuth, and Cherries, acrylic on board by Erin Tetterton.Left: Approaching Santorini, oil by Betsy Anderson.“Large Works” and “Small Works”The black-and-white “Small Works.”“Small Works.” Foreground: Sketch of Sara by Livia Tomczyk.Day Lilies I, acrylic on canvas by Kristin Herzog (“Large Works”).
This month, you can see Ethiopia through the lens of Art League photography instructor Andargé Asfaw — including stunning images like the one above — at the Washington School of Photography in Rockville, Maryland.
If the exhibit leaves you feeling inspired, Andargé is also leading a travel workshop to Ethiopia this March. You can sign up today for this expedition, which will take you through Andargé’s native country to see the landscapes, people, and culture it has to offer. The workshop is open to artists in all media. (More info here.)
As part of FotoWeek DC 2013, internationally recognized photographer Andargé Asfaw invites you to celebrate his unique photographic journey through Ethiopia’s exquisite landscapes, wildlife, and culture. Ethiopia from the Heart is truly a work of passion. A percentage of print and book profits supports CanopyEthiopia.org. Come enjoy a traditional Ethiopian Coffee Ceremony and music. To learn more visit us at www.ethiopiafromtheheart.com.
See below for details on upcoming exhibits and other calls for artists (please note — the deadline for Art in City Hall has been extended!). You can click the banner above to view past opportunities posts. This week’s banner image: detail from a photograph of the National Gallery of Art’s moving walkway by Art League instructor Libby Cullen, whose next architectural photography workshop will visit the National Building Museum in December.
Good luck!
Virginia artists
Deadline: December 1. Artists residing in the state of Virginia are invited to submit works for the Virginia Museum of Contemporary Art’s (MOCA) annual juried exhibition, “New Waves 2014.” More about the exhibit →
Art in City Hall New Deadline: Friday, December 6. The Art League and the City of Alexandria, in conjunction with the Mayor’s initiative to promote the arts citywide in Alexandria, continue to support Art In City Hall. This juried exhibit enhances the environment of Alexandria’s City Hall and promotes the talents of local artists. The exhibit will be juried by an outside, independent expert in the arts, and will hang for eight months on the second floor of the Alexandria City Hall. Members of The Art League, Del Ray Artisans, the Torpedo Factory Artists’ Association, Empowered Women International, and Convergence Art Center are invited to participate. This fall, the exhibit theme is “Intersections of Art and History.” More about the exhibit here →
Bethesda Fine Arts Festival Deadline: December 6. The Bethesda Fine Arts Festival (May 10 & 11, 2014) features 130 booth spaces. The Bethesda Arts & Entertainment District advisory committee will select the artists. All original fine art and fine craft is eligible to apply. More about the festival →
Myths & Legends
Deadline: December 6. This exhibit at the Annmarie Sculpture Garden & Arts Center in Solomons, Maryland celebrates works of art that bring to life fantastical myths, legends, fables, folktales, fairy tales, and the like. More about the exhibit (PDF) →
Northern Virginia Fine Arts Festival
Deadline: December 7. The Northern Virginia Fine Arts Festival (May 2014) is produced by the Greater Reston Arts Center and is a competitive, juried, outdoor event showcasing the best contemporary fine art and craft from around the country. The Festival is held in the streets of Reston Town Center, an upscale, elegant, shopping destination. More about the festival →
Artists in Action
Deadline: December 13. Annmarie Sculpture Garden & Arts Center in Solomons, Maryland seeks artists working in any media to submit proposals to set up a working studio space in the Main Gallery for 1-2 week periods. More about the call (PDF) →
Call for submissions
The Craddock-Terry Gallery at Riverviews Artspace is currently accepting submissions from 2D, 3D, performance, and video artists. The Craddock-Terry is a 2,500 square foot; street-level contemporary exhibition space in Lynchburg, Virginia’s revitalized downtown. The Exhibition Committee will consider artists for both solo and group exhibitions for 2014 and 2015. More about the gallery →
