Foreground: Riding Free by Ann Abercrombie, who took Stained Glass with instructor Jimmy Powers.
We love sharing photos and videos of students in action in our classrooms — but what’s even better is the annual Student/Faculty Show, where you can see in person what our student body has done in the past year!
Hermes Head Study (detail) by Irina Parshikova, a student in Thanasi Papapostolou’s Figure Sculpture class.Foreground: Work by ceramics instructors Joan Ulrich, Susan Cohen, and Susan Greenleaf.
The Art League’s students and our wonderful faculty bring out their best work for this exhibit, so make sure you see it by Sunday, March 1! The closing reception will be held that day from 2:00–4:00 pm.
Each piece is labeled with the artist’s name and the class they took, so if anything has you thinking “Hey, I want to do that,” take a closer look and browse the catalog here!
Artwork by instructors Tea Okropiridze (tapestry), George Tkabladze (sculpture), and Scott Hutchison (drawing and painting).Foreground: Soft Serve by Amanda Traub, who took ceramics classes with Blair Meerfeld.Paintings by Art League instructors (clockwise from right) John Murray, Peter Ulrich, and Robert Liberace.Debonair Monkey by ceramics instructor Kathlyn J. Avila.
More photos and news to come, including the announcement of the student awards!
Five hours and hundreds of artworks after it started, the biggest Patrons’ Show Fundraiser in history ended Sunday night with lots of happy patrons and some very empty walls!
These artists won prizes:
Geri Gordon First Choice Award, given to the artwork selected in the First Choice Raffle:
(#426) Charlene Nield, Lucille & Max
Clemente Family Award, for first artwork selected in main drawing:
(#186) Jane Johnson, Tempest
Halt, Buzas, and Powell Popular Vote Award, chosen by popular vote:
(#104) Wendy Donahoe, Deer Isle Cottage
The Van Landingham Awards (chosen by juror Twig Murray)
(#104) Wendy Donahoe, Deer Isle Cottage
(#305) Joyce McCarten, Provence Fields
(#415) Barbara Muth, Bathing
(#412) Larry Rood, Skipjack at Rest
Tempest by Jane JohnsonLucille & Max by Charlene NieldDeer Isle Cottage by Wendy Donahoe
We have a lot of people to thank for this incredible fundraiser:
Our artist donors, who gave over 700 works of art this year
Our patrons, who support our mission by buying tickets
Our staff and volunteers who make everything happen
Tom Roberts, who once again lent his technical knowledge
Deadline: March 2. Hamiltonian Artists encourages all interested artists who have not had prior gallery representation to apply for their competitive, two-year fellowship program. More about the fellowships →
All Watercolors
Deadline: March 2. Art-Competition.net announces a call to artists for an online juried international competition with $7,600 in cash prizes. The competition is open to all artists 18 years of age or older working in watercolor medium. More about “All Watercolors” →
High School artists
Deadline: March 14. The Friends of the Yellow Barn Studio & Gallery is sponsoring an art competition for all high school sophomores, juniors and seniors from Montgomery County, Maryland, Northern Virginia, and Washington DC. More about the competition →
Mid-Atlantic Painting Competition
Deadline: July 15. The University of Mary Washington Galleries, located in Fredericksburg, Virginia are proud to host the tenth edition of our juried painting competition. It is open to artists 18 years of age and older living in Delaware, the District of Columbia, Maryland, New Jersey, New York, Pennsylvania, Virginia, and West Virginia. Entries will be judged by a guest juror. Cash prizes and a purchase award are also available. The exhibition will be on view January 15–February 28, 2016. For more information, visit umwgalleries.org.
The Patrons’ Show Fundraiser is this Sunday, February 15! It all starts at 4:00 pm, though you can get here to take your seat as early at 3:00. Here’s everything you need to know:
How to Join In
There are still some tickets left at the time of this blog post! To get yours, click here:
Even if you can’t come on Sunday, you can join the fun with the First Choice Raffle Ticket, on sale in the Gallery. See below for details!
Because 600+ pieces is a lot to keep track of, we’ve posted a number of tools to help you make your lists. For the most up-to-date versions of these downloads, visit our Patrons’ Show Fundraiser homepage.
Who gets the first pick of all this Sunday? The winner of the First Choice Raffle! Buy one raffle ticket for $15 or two for $25 and you could win that piece you’ve been eyeing …
Tickets are available for sale in the Gallery right up until the drawing on Sunday. You don’t need to have a Patrons’ Show ticket to purchase a raffle ticket.
Cast Your Vote
Stop by the Gallery desk to pick up a ballot and vote for your favorite piece in the Patrons’ Show. The artist whose piece wins the popular vote takes home $100!
Gallery Hours This Weekend
Thursday: 10:00 am–9:00 pm
Friday: 10:00 am–6:00 pm
Saturday: 10:00 am–6:00 pm
Sunday: 10:00 am–4:00 pm
Valentine’s Day in Old Town
SOUPer Saturday: Saturday, February 14
Torpedo Factory Art Center, 9:00 am–12:00 noon
For $20 this SOUPer Saturday, purchase an handmade ceramic bowl and receive a cup of clam chowder donated by our neighbor, the Chart House. All bowls have been generously created and donated by Torpedo Factory artists, and proceeds benefit United Community Ministries, a Route 1 corridor social-service agency serving Alexandria and Fairfax.
Restaurant specials in Old Town
Some of our favorite restaurants in Old Town are having some Valentine’s Days specials this Saturday. Support those who have continued to support us!
With the Patrons’ Show Fundraiser drawing set for this Sunday, we’re getting ready for hundreds of visitors this weekend as ticketholders come to pick out their favorites!
Even those without tickets will be coming in to see some fantastic work by their favorite artists and buy a First Choice Raffle ticket ($15 for 1 or $25 for 2 — no Patrons’ Show ticket is necessary).
Check back next week to see what happens Sunday. Before things got too crowded in the gallery, we snapped some quick pictures to show you what things are looking like.
“Sometimes I get to places just when God’s ready to have somebody click the shutter.” — Ansel Adams
Chesapeake Bay Arts Show
Dates: May 15–16. Chesapeake Bay Waterfowl Arts Show: A Celebration of the Traditional Arts of the Bay is looking for quality artists! This show is located indoors at St. Mary’s County Fairgrounds, Leonardtown, MD. The fee is $85 per booth. To receive an application form, send an email including photos of your work to: [email protected]. More information will be posted here.
Share your failures
Deadline: March 9. For “Lower Moments” at Pleasant Plains Workshop in NW DC, you are encouraged to submit your most embarrassing artwork, art moment, curatorial disaster, embarrassing artist statement, or awkward art story! More about “Lower Moments” →
Truro Anglican Church
Receiving: March 18–19. As part of the City of Fairfax’s Spotlight on the Arts, Truro Anglican Church presents its 5th Spring Arts Festival Art Show. Work can be submitted in two categories: Adult and Youth. Work will be exhibited in the Truro Anglican Church Gallery and Undercroft from March 20 – May 22, 2015. Cash prizes will be awarded to each age category. More about the Spring Arts Festival →
Small Works on Paper
Deadline: April 20. Bloomsburg University of Pennsylvania invites all artists to participate in a juried exhibition of small works on paper in conjunction with The 25th Annual International Conference on Virginia Woolf. Works on paper (15″ x 11″ or smaller) in all traditional and experimental visual arts media, including photography, will be considered. More about the exhibit →
Re-runs: the announcements below have appeared here before, but it’s not too late to apply!
3-D art last chance!
Deadline: February 11, 4:00 pm. Artful Dimensions Gallery in Fredericksburg, VA invites artists to submit to their April show, “Dimensional Expressions.” All 3-D media are eligible. More about the exhibit →
2-D art last chance!
Deadline: February 12. Fresh Paint Magazine is looking for submissions from emerging and mid-career artists for our juried April 2015 Issue. Artists working in two dimensional fine art disciplines (except photography) are welcome to submit their work. Juror: Margaret Winslow. More about the magazine →
Bethesda Painting Awards last chance!
Deadline: February 13. The Bethesda Arts & Entertainment District invites eligible artists to enter the Bethesda Painting Awards. Artists must be 18 years of age or older and permanent, full-time residents of Maryland, Virginia or Washington, DC. More about the painting awards →
Lost & Found last chance!
Deadline: February 13. The Off-Rhode Gallery at Art Enables invites artists in the Washington, Virginia, Maryland area to participate in “Lost & Found,” a show featuring work created with found materials, or regarding items both lost and found. Off-Rhode Gallery at Art Enables is a gallery for self-taught and emerging artists however, this call is open to all artists working in all mediums (including photography) and preference will be given to self-taught artists. Read the call for artists →
Emulsion at East City Art last chance!
Deadline: February 15. This call for entry is open to all residents 18 years of age or over who reside or create art within 50 miles of East City Art’s headquarters located at 922 G Street SE. Artworks in all media are eligible; the theme is “Emulsion.” Download the prospectus (PDF) →
Emerging clay artists
Deadline: February 17. The May 2015 issue of Ceramics Monthly will feature the works of emerging clay artists. US and international clay artists who have been actively pursuing a career in ceramics for less than ten years are encouraged to apply. Read the rules (PDF) →
Art about first responders
Deadline: February 20. “Visions of Courage, Impressions of Service” at Lorton’s Workhouse Arts Center will express, through art, the values of the first responders and interpretations of police, fire and first responders from around the world. The exhibit coincides with the World Police and Fire Games in Fairfax. Entries are limited to 2-D art. More about the exhibit →
Paint Annapolis
Deadline: February 22. Paint Annapolis is a five-day juried plein air painting competition held June 8-14, 2015, that brings to Annapolis plein air painters from around the world. Artists are juried in to participate, and a judge awards prizes at the competition. More about Paint Annapolis →
Public sculpture proposals
Deadline: February 27. The Howard County Arts Council (HCAC) in Maryland is seeking up to 13 artists to participate in its Fourth Annual Juried Public Art Competition for a temporary outdoor exhibit from August 2015 – July 2016 . HCAC’s goal is to make art more accessible to the entire community by placing sculpture at sites throughout Howard County. Read the Request for Proposals (PDF) →
Richmond Gallery seeking proposals
Deadline: March 1. 1708 Gallery in Richmond, VA is currently accepting proposals for 2016 and 2017. National and international artists and curators are encouraged to submit proposals to exhibit work in all mediums (including but not limited to: video and film, new media, installation, sculpture, performance, painting and social practice). More about 1708 Gallery →
Hamiltonian Artists Fellowship
Deadline: March 2, 2015. The 8th annual open call to the Hamiltonian Artists Fellowship is now open. Advancing the professional development of emerging visual artists, the two-year program serves as a steppingstone for the next generation of contemporary artists in Washington, DC. More about the Hamiltonian Fellowship →
Summer exhibit at Target Gallery
Deadline: March 9. This call is open to all artists from North America working in all visual media. The selected artist or group will receive a solo exhibition at the Target Gallery from July 25 – August 30, 2015, as well as a stipend and an exhibition catalog. A panel of independent arts professionals will review submissions and select the final proposal. Our jurors this year are John James Anderson, Amy Boone-McCreesh, and Alex Goldstein. More about exhibiting at Target Gallery →
Virginia artists
Deadline: March 13 (early bird February 16). The Bay School Community Arts Center in Mathews, VA invites all adult Virginia artists to enter Art Speaks on the Bay 2015, a juried exhibit with $3,200 in prize money. More about “Art Speaks on the Bay” →
South Atlantic Juried Exhibit
Deadline: March 20. This exhibit will be at the Montpelier Center in Montpelier, VA. The South-Atlantic Juried Exhibition is open to all professional artists who reside in Maryland, West Virginia, Virginia, Washington, D.C., North Carolina, South Carolina, Georgia, and Florida. More about the exhibit →
2016 Solo Exhibits
Deadline: March 25. VisArts in Rockville, MD invites artists working in all media to apply for 2016 Solo Exhibitions in the Gibbs Street Gallery and Common Ground Gallery. More about exhibiting at VisArts →
“Red”
Deadline: March 30. Gallery Underground in Crystal City is asking artists to explore the color red for an exhibit opening April 27, juried by watercolorist Frank Eber. More about “Red” →
Torpedo Factory loading dock mural
Deadline: March 31. This is an open call for artists to design and execute a mural to cover the exterior of the Torpedo Factory Art Center loading dock. More about the mural →
Philadelphia Craft Show
Deadline: April 1. The 39th Annual Philadelphia Museum of Art Craft Show, a juried exhibition and retail sale, will be held at the Pennsylvania Convention Center from November 12 to 15, 2015, with a Preview Party on November 11. The jury will accept 195 craft artists. More about the show →
Art @ the Park
Deadline: April 10 (early bird April 4). Art @ the Park 2015 is a regional festival (Mid-Atlantic Region) located in Annapolis MD in the magnificent setting of Quiet Waters Park. It features original art work from exhibitors throughout the region and includes musical performances, children’s activities, eclectic food, wine and beer. More about exhibiting at the festival →
Smithfield Arts Festival
Deadline: April 10. The Smithfield (Virginia) Fall Festival of the Arts is a juried outdoor fine art show featuring accomplished travelling artists from throughout the Mid-Atlantic region. There will be live entertainment throughout the day on an adjacent stage. The show has openings for more than 80 artists in the first year, and room for expansion in the future. We welcome artists working in Ceramics, Drawing, Fiber/Leather, Glass, Jewelry, Metal, Painting, Photography, Wood, and other media. Prizes include $1,000 for Best in Show, and $200 prizes for first place in each category. More about the festival →
Interactivity: Sight and Sound
Deadline: April 17. Sounds, music or voices seen as colors is referred to as synesthesia. Artists are invited to consider this concept and propose an exhibit of works that might connote or express it for an exhibit at Montgomery College. More about “Interactivity: Sight and Sound” →
Bethany Beach Boardwalk
Deadline: May 1. The 37th Bethany Beach Boardwalk Arts Festival will be held Saturday, September 12. Entry is open to artists 18 and over. More about the festival →
L’occhio di Shui (The Eye of Shui) by Shui Mao. Image used with permission.
Ask Rose, Katie, Kevin, and Raquel in the Gallery what their favorite office supply is. Then, ask them what question visitors have most often. The answer is the same.
Red dots!
Why do you see these spots around The Art League? Red dots on a gallery wall mean simply mean that a piece has sold. Hence why they’re our favorite! By using the red dot, we can indicate a piece is no longer for sale while still leaving it on view for the remainder of an exhibit.
Katie and Rose
The red dot has a bit of a history. They’ve been used for decades in galleries around the world. Some use a red marker, and some use the sticker. Online, the red dot has mostly disappeared, and pieces in image galleries are just marked “SOLD” — how utilitarian!
If you ever see a yellow dot, by the way, that means a 24-hour hold has been placed by a prospective purchaser.
Our happy wall
For all that history, the dot’s origins are mysterious. None of the gallery owners we contacted knew why we use red dots — and not, say, a gold star. But we do have some theories!
Red stands out on white gallery walls
Red markers and labels are common and easy to find
Red intuitively means “stop, it’s already sold”
Somebody used a red sticker one day and it just … stuck (sorry)
The red dot archetype has been passed down from our ancestral artists
Robert-Jean Ray, curator at Red Dot Gallery in Sacramento, reports it’s an American gallery tradition that can probably be dated to the height of the art market back in the late 1950s. Colin from the Red Dot Gallery in Norfolk, England shared his experiences in Japanese art galleries, where sales are conducted differently and red dots aren’t used. You also won’t see them in high-end London galleries, which may simply remove the information card or not use one in the first place.
Any theories from our readers? Happy memories of red dots? We’d love to hear them! Whatever the reason, now you know why red dots make galleries everywhere feel warm and fuzzy.
“Red Dots” was Shanthi Chandrasekar’s 2011 exhibit at The Art League.
“A daydream is a meal at which images are eaten. Some of us are gourmets, some gourmands, and a good many take their images precooked out of a can and swallow them down whole, absent-mindedly and with little relish.” — W.H. Auden
3-D artwork
Deadline: February 11, 4:00 pm. Artful Dimensions Gallery in Fredericksburg, VA invites artists to submit to their April show, “Dimensional Expressions.” All 3-D media are eligible. More about the exhibit →
Waverly Street
The Waverly Street Gallery, a cooperative gallery in downtown Bethesda since 1993, is accepting applications for membership from artists in various media. A gallery committee will be interviewing for prospective new members in the beginning of March.
For information and instructions on how to apply, please visit their website.
Summer exhibit at Target Gallery
Deadline: March 9. This call is open to all artists from North America working in all visual media. The selected artist or group will receive a solo exhibition at the Target Gallery from July 25 – August 30, 2015, as well as a stipend and an exhibition catalog. A panel of independent arts professionals will review submissions and select the final proposal. Our jurors this year are John James Anderson, Amy Boone-McCreesh, and Alex Goldstein. More about exhibiting at Target Gallery →
2016 Solo Exhibits
Deadline: March 25. VisArts in Rockville, MD invites artists working in all media to apply for 2016 Solo Exhibitions in the Gibbs Street Gallery and Common Ground Gallery. More about exhibiting at VisArts →
Art @ the Park
Deadline: April 10 (early bird April 4). Art @ the Park 2015 is a regional festival (Mid-Atlantic Region) located in Annapolis MD in the magnificent setting of Quiet Waters Park. It features original art work from exhibitors throughout the region and includes musical performances, children’s activities, eclectic food, wine and beer. More about exhibiting at the festival →
Smithfield Arts Festival
Deadline: April 10. The Smithfield (Virginia) Fall Festival of the Arts is a juried outdoor fine art show featuring accomplished travelling artists from throughout the Mid-Atlantic region. There will be live entertainment throughout the day on an adjacent stage. The show has openings for more than 80 artists in the first year, and room for expansion in the future. We welcome artists working in Ceramics, Drawing, Fiber/Leather, Glass, Jewelry, Metal, Painting, Photography, Wood, and other media. Prizes include $1,000 for Best in Show, and $200 prizes for first place in each category. More about the festival →
Bethany Beach Boardwalk
Deadline: May 1. The 37th Bethany Beach Boardwalk Arts Festival will be held Saturday, September 12. Entry is open to artists 18 and over. More about the festival →
Every year, The Art League gets over 600 pieces of artwork generously donated for our Patrons’ Show Fundraiser. We also get about 150 unframed pieces that we need to mat and frame — so they’re wall-ready for 150 lucky patrons!
Tiffany and Kevin are doing the bulk of the framing this year. On Friday, we stopped by the Madison Annex to make sure they were keeping busy (which they were) and pick up some tips for framing.
Here’s what we heard:
#1: Wear gloves. Keep Band-Aids nearby. Don’t bleed on the artwork.
Safety first!
#2: Don’t forget the tunes!
Try the Spotify “framing jams” playlist.
#3: Invest in a good point-driver and acid-free materials. Oh, and an electric screwdriver.
The point-driver (above) and electric screwdriver are big time-savers. And acid-free matboard and foam core keep the artwork looking good for years to come.
#4: Measure twice, cut once.
Always good advice, and doubly good with a project this big!
Thank you to Tiffany, Kevin, and all our framers for your hard work — and these tips!
“Using art as the catalyst, SOHO is designed to teach at-risk girls and boys to value creativity, live healthy lives, communicate openly, progress academically and give back to others.”
When the girls of SOHO (Space of Her Own) in Alexandria were given cameras to use for their photography project, it wasn’t just about learning photography. Their mission was to articulate their goals, then use their photography skills to bring them to life — from staging photos to developing the film.
At the end of the lesson, led by photographer Alison Duvall, each SOHO girl filled out an artist statement with their reflections on the process:
What scenes did you create to show your future goals?
“To show my future goals I created the following scenes: police officer; teacher; and traveler because these are future things I would like to become. I also created a scene about having fun because it is important to have fun in your life.” — Brianna
“The scenes that I created to show my future goal was Rocio and myself portraying “cops and robbers” because I want to be in the law enforcement business.” — Marian
“The scene that I created to show my future goal to be a veterinarian was of myself taking care of a cat, played by my friend Marian.” — Rocio
“My scenes of being a model are about being myself. I can do anything. I have fun putting on costumes.” — Meybelin
Is there a timeline or storyline to follow the scenes you created?
“Yes, there is a timeline. We did my makeup, my hair, I practiced, I won a medal, and I took pictures with my fans.” — Destinie
“I first made sure that the patient was breathing by checking the heart. Then I checked the temperature using the thermometer. I went to see what happened to the patient. The patient went into surgery. After surgery I still wanted to see if the patient felt better, so I gave her a check up.” — Jaylin
“I tried to show different jobs I would like to have when I get older. Some of the jobs in my pictures are model, student, business woman, and policewoman.” — Tayhana
A contact sheet from the 2015 SOHO Photography Exhibit.
How will you achieve each of your future goals?
“First I’ll graduate middle school and high school, then enter college. In college I’ll major in science and medicine. After I graduate college I’ll go to medical school. Upon finishing my residency I will finally become a pediatrician.” — Alisha
“I will join the ROTC in high school and then go jogging every day to become physically fit. I would also like to visit Parris Island in the near future.” — Jenniffer
“My future goal is to go to college and study government. I plan to study very hard in middle school and high school to go to college. I would like to be the first person in my family to go to college and get my degree.” — Selena
What is the most interesting thing you learned about photography?
“The most interesting thing I learned was about the birds view, worm view and straight view. The second thing is how to operate a camera.” — Julie
“The most interesting thing I learned about photography was how to use an old camera that wasn’t digital. I also learned how to create a scene.” — Brianna
“The most interesting thing about photographing my friends and directing them was getting them into the right position. Another interesting thing was dressing them up how I wanted.” — Sandis
Describe your experience in the darkroom.
“When we went to the wet steps, it was cool to see the picture appear!” — Destinie
“My experience in the dark room was really exciting! We enlarged our photo with a machine and put our photos in chemicals. The room was awesome. It wasn’t totally dark since there was an orange light. When we left the dark room my eyes started hurting from the bright light.” — Brianna
“We had to work in the dark. We focused the picture under the enlarger. We learned the developing process where you place the picture in each tray and keep an eye on the clock.” — Jenniffer
“I was happy and excited because I experienced something new today.” — Sandis
Danger Lurks, gelatin monoprint by Katherine Rand. Winner of the Third Place Award in the January All-Media Exhibit. (click for a larger image)
Katherine Rand, one of three first-time award winners in the January All-Media Exhibit, juried by Paul Reuther, told us how gelatin monoprinting works and about finding inspiration in the figure and art history in this Q&A:
Moulin Rouge: La Goulue, lithograph by Henri de Toulouse-Lautrec
What was your goal with Danger Lurks? Did you have any particular inspiration for the figures and the composition?
Katherine Rand: When I created Danger Lurks I was starting on another series of prints that featured ballroom dancers. I was toying with the idea of incorporating other figures in with the dancers. I thought that perhaps the audience or an announcer might add something to the composition.
This brought to mind some of Toulouse-Lautrec’s famous posters. One in particular, Moulin Rouge: La Goulue, intrigued me. In the background is the silhouette of an audience, in the middle ground is the featured dancer and in the foreground is the shadowy figure of another dancer. This gave me a place to start.
I cut out some rough templates for background, middle ground and foreground figures, intending to use these to plan the layout for some of my ballroom prints. As sometimes happens, things did not go as planned. As I worked with these stand-in figures a new story line began to emerge on my gelatin printing plate. The middle ground dancer became a little girl next to the shadowy foreground figure and the background audience dropped out of the picture. Apparently my cast of characters was not interested in putting on a dance performance that day.
I did go on to create some ballroom dancer prints, without other figures. The dancers were happy to be the only featured characters. The Moulin Rouge-inspired characters live on only in this one piece, Danger Lurks.
Quick Step Trio, gelatin monoprint over ink drawing by Katherine Rand. (click for a larger image)
For people unfamiliar with the technique, can you explain how a gelatin monoprint is made?
Creating gelatin monoprints begins with making a thin sheet of gelatin to use as the inking surface. Once it has hardened, printing ink is rolled onto the gelatin plate. I use mostly Speedball water-soluble Block Printing Ink for this.
At this point, different effects can be achieved by removing ink from the gelatin in some areas and masking it in others. A piece of printmaking paper is laid face-down on the inked surface to produce the print. The soft, slightly damp surface of the gelatin releases the ink without the use of a press.
Before and after: top, a gelatin plate with ink removed and masked. Bottom, Dancing Pears No. 3 by Katherine Rand. (click for a larger image)
Why are you a printmaker? What is the appeal of monoprinting, specifically?
Printmaking has seemed a natural extension of the drawing I do. For the last seven years I have I have run the life drawing program for the Del Ray Artisans in Alexandria. My figurative prints have developed out of the figure drawing I do from our models there. I enjoy the one-of-a-kind approach of monoprinting because there is always something new to discover and learn with each print.
Above, a trace monoprint from life (left) next to an inked and masked gelatin plate. Below, the untitled work in progress.
What are you working on now?
Lately I have been doing a fair number of trace monotypes. This technique involves inking a Plexiglas plate, placing a piece of paper face-down on top of the ink and drawing on the back of the paper to transfer the ink. I often add some other elements to these trace monotypes using the gelatin plate. I usually use drawings I have done from life as reference for the prints I create. However, I recently did some these monotypes directly from our live models, which was a fun challenge.
Deadline: February 1. The Historical Society of Washington, DC’s juried competition and exhibition, “For the Record: Artfully Historic DC”, is accepting submissions of artwork and photography. Jurors will pick 75 artworks for the exhibit and the printed catalogue. The top five winning artists receive a financial award and their artworks will be formally accessioned into the Society’s permanent collection. More about “For the Record” →
Wrap Alexandria’s Traffic Control Boxes
Deadline: February 6. Up to three artists or artist teams will be selected to design wraps for 12 traffic control boxes located at intersections along Duke Street in Alexandria. The wraps will cover all four sides and the top of each box. To develop their designs, artists are encouraged to use a variety of media, such as photography, painting, collage, digital imagery, etc. Selected artists will be required to submit their artwork in digital format. The City will be responsible for the printing and installation of the box wraps. More about the competition →
Virginia artists
Deadline: March 13 (early bird February 16). The Bay School Community Arts Center in Mathews, VA invites all adult Virginia artists to enter Art Speaks on the Bay 2015, a juried exhibit with $3,200 in prize money. More about “Art Speaks on the Bay” →
South Atlantic Juried Exhibit
Deadline: March 20. This exhibit will be at the Montpelier Center in Montpelier, VA. The South-Atlantic Juried Exhibition is open to all professional artists who reside in Maryland, West Virginia, Virginia, Washington, D.C., North Carolina, South Carolina, Georgia, and Florida. More about the exhibit →
“Red”
Deadline: March 30. Gallery Underground in Crystal City is asking artists to explore the color red for an exhibit opening April 27, juried by watercolorist Frank Eber. More about “Red” →
Philadelphia Craft Show
Deadline: April 1. The 39th Annual Philadelphia Museum of Art Craft Show, a juried exhibition and retail sale, will be held at the Pennsylvania Convention Center from November 12 to 15, 2015, with a Preview Party on November 11. The jury will accept 195 craft artists. More about the show →
Re-runs: the announcements below have appeared here before, but it’s not too late to apply!
Drawing & Print Competition
Deadline: January 31. The 26th National Drawing and Print Exhibition at Notre Dame of Maryland University: Drawings and prints (not photography) in any medium are eligible. All drawings and prints must be original works of art. Each artist may submit up to 3 works, online only. More about the competition →
2-D art
Deadline: February 12. Fresh Paint Magazine is looking for submissions from emerging and mid-career artists for our juried April 2015 Issue. Artists working in two dimensional fine art disciplines (except photography) are welcome to submit their work. Juror: Margaret Winslow. More about the magazine →
Bethesda Painting Awards
Deadline: February 13. The Bethesda Arts & Entertainment District invites eligible artists to enter the Bethesda Painting Awards. Artists must be 18 years of age or older and permanent, full-time residents of Maryland, Virginia or Washington, DC. More about the painting awards →
Lost & Found
Deadline: February 13. The Off-Rhode Gallery at Art Enables invites artists in the Washington, Virginia, Maryland area to participate in “Lost & Found,” a show featuring work created with found materials, or regarding items both lost and found. Off-Rhode Gallery at Art Enables is a gallery for self-taught and emerging artists however, this call is open to all artists working in all mediums (including photography) and preference will be given to self-taught artists. Read the call for artists →
Emulsion at East City Art
Deadline: February 15. This call for entry is open to all residents 18 years of age or over who reside or create art within 50 miles of East City Art’s headquarters located at 922 G Street SE. Artworks in all media are eligible; the theme is “Emulsion.” Download the prospectus (PDF) →
Emerging clay artists
Deadline: February 17. The May 2015 issue of Ceramics Monthly will feature the works of emerging clay artists. US and international clay artists who have been actively pursuing a career in ceramics for less than ten years are encouraged to apply. Read the rules (PDF) →
Art about first responders
Deadline: February 20. “Visions of Courage, Impressions of Service” at Lorton’s Workhouse Arts Center will express, through art, the values of the first responders and interpretations of police, fire and first responders from around the world. The exhibit coincides with the World Police and Fire Games in Fairfax. Entries are limited to 2-D art. More about the exhibit →
Paint Annapolis
Deadline: February 22. Paint Annapolis is a five-day juried plein air painting competition held June 8-14, 2015, that brings to Annapolis plein air painters from around the world. Artists are juried in to participate, and a judge awards prizes at the competition. More about Paint Annapolis →
Public sculpture proposals
Deadline: February 27. The Howard County Arts Council (HCAC) in Maryland is seeking up to 13 artists to participate in its Fourth Annual Juried Public Art Competition for a temporary outdoor exhibit from August 2015 – July 2016 . HCAC’s goal is to make art more accessible to the entire community by placing sculpture at sites throughout Howard County. Read the Request for Proposals (PDF) →
Richmond Gallery seeking proposals
Deadline: March 1. 1708 Gallery in Richmond, VA is currently accepting proposals for 2016 and 2017. National and international artists and curators are encouraged to submit proposals to exhibit work in all mediums (including but not limited to: video and film, new media, installation, sculpture, performance, painting and social practice). More about 1708 Gallery →
Hamiltonian Artists Fellowship
Deadline: March 2, 2015. The 8th annual open call to the Hamiltonian Artists Fellowship is now open. Advancing the professional development of emerging visual artists, the two-year program serves as a steppingstone for the next generation of contemporary artists in Washington, DC. More about the Hamiltonian Fellowship →
Torpedo Factory loading dock mural
Deadline: March 31. This is an open call for artists to design and execute a mural to cover the exterior of the Torpedo Factory Art Center loading dock. More about the mural →
Interactivity: Sight and Sound
Deadline: April 17. Sounds, music or voices seen as colors is referred to as synesthesia. Artists are invited to consider this concept and propose an exhibit of works that might connote or express it for an exhibit at Montgomery College. More about “Interactivity: Sight and Sound” →
Michele Reday Cook is one of three award winners in the January All-Media Exhibit, juried by Paul Reuther, all of whom are first-time award winners at The Art League. She’s also one of two awardees from our friends at Del Ray Artisans, where she is the immediate past president.
Reday Cook is like many other artist members of our gallery in that she came to art later in life — although she has always been surrounded by it. Read our Q&A for more about this artist’s career and her Best-in-Show painting, Ghetto in Paradise.
Ghetto in Paradise, oil, by Michele Reday Cook (click for a larger image)
What was your goal with Ghetto in Paradise?
Michele Reday Cook: I wanted to explore the juxtaposition of poverty adjacent to wealth, and the way in LA you can live in a dump, and be surrounded by great wealth, good fortune, natural beauty and year-round wonderful weather…
What location is pictured? What made you want to paint it?
Los Angeles, late 1970’s, eastern edge of Santa Monica, off Pico.
I took a couple of photographs from the window of my sister’s apartment, at a time she was hospitalized and not expected to survive. Weird view, crummy apartment, very stressful time in beautiful LA (my sister’s fine—a medical miracle!) I thought the scene kind of captured that incongruity of that low-rent, shabby neighborhood next to wealthy Santa Monica. Also how incongruous beautiful weather and surroundings seem when one is experiencing a crisis.
Ghetto in Paradise (detail) by Michele Reday Cook
Why are you a painter? Do you also use other media?
I don’t know why I’m a painter. It runs in the family—musicians, painters and photographers. I think it has to do with needing to capture or remember certain scenes for myself by recreating them. I came to art later in life, in my 40’s. (My mother was pleased that I’d finally accepted my destiny.)
I started in watercolor; I do some abstract acrylic works on paper, and some sculpture too, but I mostly work in oils these days.
What’s your creative process like, from an idea to a finished piece?
Agony! Frustration! Sometimes a painting comes together quickly, and I try to recognize when that happens and stop before I ruin it. But its usually just trial and error, trying to get on canvas what I see in my mind and that I want viewers to experience. Basically, I paint what I see, and what captures my interest.
Playing Hooky – John S. Sleeps In, acrylic and mixed media, by Michele Reday Cook — from the May 2012 “Bedtime Stories” exhibit juried by Judy Greenberg.
I do take classes at The Art League and find them very helpful. Great teachers who look over your shoulder and point out where your painting could use some work! Everyone needs that.
I paint scenes from coastal Southern California, where I spent much of my life, and of the Blue Ridge Mountains where I spend as much time as I can these days. These are places that are meaningful to me.
What is your first memory of experiencing art?
3 memories: Watching my dad paint. My favorite art books as a young child: “Art Treasures of the Louvre,” and “Hammonds Nature Atlas of the World.” Also growing up in Japan in the 50’s as a child– a culture in which visual art was everywhere, in nature and in the way everything was made into an art form. And of course, being raised in a family in which pursuit of the creative arts was expected from birth!
Marina Study, oil, by Michele Reday Cook — from the 2011 Art in City Hall exhibit. (click for a larger image)
What was it like growing up in that family? What made you eventually “accept your destiny”?
As children in Japan, we had soft pastels (Cray-Pas) which we thought were “crayons” — you can imagine my horror when we arrived in the US and I was given Crayolas and told these were crayons. But I was hampered in my early artistic efforts by being extremely near-sighted. Efforts to learn piano failed for total lack of interest and ability. I was pretty uncoordinated, and had to find something besides constantly reading. Theater turned out to be the obvious choice.
Show business is a hard business, and eventually I had to give it up and get a “real job.” I went back to school for my BA in theater arts and MA in clinical psychology, got married, moved to Alexandria, had kids … I’d been cartooning for years, a sort of diary/blog to entertain myself and co-workers, and began to feel the stirrings of need to pursue more serious artistic goals.
By then my sister Liz was already a successful artist. When my kids were little, I’d always take them down to the Torpedo Factory. I realized I ought to be an artist after all, and began to imagine my future as a painter. My parents and sister encouraged me, saying things like, “… finally — we always knew you were an artist — now apply yourself!” And mother did actually say she wondered why it took me so long to accept my destiny as a painter.
You know the rest: many Art League classes, getting into shows, selling — and most affirming, receiving recognition for my art. I’ve just “retired” from seven years on the board at Del Ray Artisans, as curator director and president, to devote more time to becoming a better artist.
By the way — my daughter is a photographer. Must run in the family!
What are you working on now?
I’m trying to finish up some portraits; working on a couple of landscapes of mountains…taking a sculpture class. I’m in a small group show in February at Del Ray Artisans, and I’m busy putting together an exhibit of my work for that show.
What I learned painting in 17 degree temperatures today:
when it’s cold enough out, watercolor crystallizes on your palette, and then solidifies on your paper
these crystals make some interesting textures in your painting
when you bring this painting back into a warm studio, the crystals melt, merging all your nuanced brushwork into one big puddle
sometimes, if not always, getting very messed up improves a painting
— Susan Abbott
Susan Abbott is an artist and Art League instructor who blogs at A Painter’s Year. She left this week for the Bahamas, where she and her students will be painting in warmer temperatures this February. At the time of this blog post, the trip is waitlist only, but contact us if you’re interested! Find the details here.
“Ability is of little account without opportunity.” — Napoleon
Beer Can Contest
Deadline: January 24. Our friends at Pizzeria Paradiso are holding a Beer Can Art Contest on January 25. The art must be made primarily of craft beer cans. See this page for the rules and prizes.
Lost & Found
Deadline: February 13. The Off-Rhode Gallery at Art Enables invites artists in the Washington, Virginia, Maryland area to participate in “Lost & Found,” a show featuring work created with found materials, or regarding items both lost and found. Off-Rhode Gallery at Art Enables is a gallery for self-taught and emerging artists however, this call is open to all artists working in all mediums (including photography) and preference will be given to self-taught artists. Read the call for artists →
Emerging clay artists
Deadline: February 17. The May 2015 issue of Ceramics Monthly will feature the works of emerging clay artists. US and international clay artists who have been actively pursuing a career in ceramics for less than ten years are encouraged to apply. Read the rules (PDF) →
Public sculpture proposals
Deadline: February 27. The Howard County Arts Council (HCAC) in Maryland is seeking up to 13 artists to participate in its Fourth Annual Juried Public Art Competition for a temporary outdoor exhibit from August 2015 – July 2016 . HCAC’s goal is to make art more accessible to the entire community by placing sculpture at sites throughout Howard County. Read the Request for Proposals (PDF) →
Richmond Gallery seeking proposals
Deadline: March 1. 1708 Gallery in Richmond, VA is currently accepting proposals for 2016 and 2017. National and international artists and curators are encouraged to submit proposals to exhibit work in all mediums (including but not limited to: video and film, new media, installation, sculpture, performance, painting and social practice). More about 1708 Gallery →
Re-runs: the announcements below have appeared here before, but it’s not too late to apply!
Anacostia River photography
Deadline: January 23. Vivid Solutions Gallery seeks submissions to a group photography exhibition highlighting the Anacostia River, to be on view March 13 – May 1, 2015. The exhibit coincides with Celebrate the River, a celebration of the Anacostia River that will serve as the closing day festivities of The National Cherry Blossom Festival, taking place near the gallery in Anacostia Park on April 12. More about the photography exhibit →
Deadline: January 31. The 26th National Drawing and Print Exhibition at Notre Dame of Maryland University: Drawings and prints (not photography) in any medium are eligible. All drawings and prints must be original works of art. Each artist may submit up to 3 works, online only. More about the competition →
2-D art
Deadline: February 12. Fresh Paint Magazine is looking for submissions from emerging and mid-career artists for our juried April 2015 Issue. Artists working in two dimensional fine art disciplines (except photography) are welcome to submit their work. Juror: Margaret Winslow. More about the magazine →
Bethesda Painting Awards
Deadline: February 13. The Bethesda Arts & Entertainment District invites eligible artists to enter the Bethesda Painting Awards. Artists must be 18 years of age or older and permanent, full-time residents of Maryland, Virginia or Washington, DC. More about the painting awards →
Emulsion at East City Art
Deadline: February 15. This call for entry is open to all residents 18 years of age or over who reside or create art within 50 miles of East City Art’s headquarters located at 922 G Street SE. Artworks in all media are eligible; the theme is “Emulsion.” Download the prospectus (PDF) →
Art about first responders
Deadline: February 20. “Visions of Courage, Impressions of Service” at Lorton’s Workhouse Arts Center will express, through art, the values of the first responders and interpretations of police, fire and first responders from around the world. The exhibit coincides with the World Police and Fire Games in Fairfax. Entries are limited to 2-D art. More about the exhibit →
Paint Annapolis
Deadline: February 22. Paint Annapolis is a five-day juried plein air painting competition held June 8-14, 2015, that brings to Annapolis plein air painters from around the world. Artists are juried in to participate, and a judge awards prizes at the competition. More about Paint Annapolis →
Hamiltonian Artists Fellowship
Deadline: March 2, 2015. The 8th annual open call to the Hamiltonian Artists Fellowship is now open. Advancing the professional development of emerging visual artists, the two-year program serves as a steppingstone for the next generation of contemporary artists in Washington, DC. More about the Hamiltonian Fellowship →
Torpedo Factory loading dock mural
Deadline: March 31. This is an open call for artists to design and execute a mural to cover the exterior of the Torpedo Factory Art Center loading dock. More about the mural →
Interactivity: Sight and Sound
Deadline: April 17. Sounds, music or voices seen as colors is referred to as synesthesia. Artists are invited to consider this concept and propose an exhibit of works that might connote or express it for an exhibit at Montgomery College. More about “Interactivity: Sight and Sound” →
14 of the over 600 pieces that will be in this year’s Patrons’ Show Fundraiser.
Every year, artists donate hundreds of pieces of artwork to make the Patrons’ Show Fundraiser possible.
Because not everybody has a lot of time to come see the show before the drawing night, we also put photos of every donation online. This year’s batch is being uploaded here, and by the end of Patrons’ Show this year, the Flickr set with these images will have over 50,000 views from people diligently making their lists.
The Gallery gets a lot of questions about how this process happens, so I (George, Art League blogger/photographer) made a short guide. This is just a rough overview, so feel free to ask questions in the comments and check out this Q&A with Pete Duvall, the photographer who teaches the Photographing Your Artwork workshop each year. (I took it this past September.)
With over 600 pieces to photograph, there’s not much time to spend on individual pieces. That’s why speed and repeatability guide my setup:
Artwork: A must-have, for obvious reasons. 2-D artwork goes on one of these sturdy, handmade Art League easels to make things quick and easy to trade out. 3-D artwork will go on a pedestal with a plain background like a white wall.
Scale: As many patrons commented last year, one of the shortcomings of viewing artwork online is it’s difficult to tell how large things are. Rather than measuring all the dimensions for you, this year I’m including this black-and-white scale (in inches) below each image so you can get a rough sense of size.
Camera (with tripod and USB): I use a Canon with the 50mm f/1.8 lens, which is working perfectly. It’s set to manual exposure so the photos are consistent. With the aperture at f/11 or higher, the depth of field is large enough that there’s no need to refocus for each piece of artwork.
Laptop (not pictured): All the photographs are triggered from, and stored on, a laptop instead of the camera. I use Lightroom for capturing and editing all the images — see below for more about this software sent from heaven.
Lights: The most important ingredient after the obvious ones (artwork and camera). I’m using a setup with two lights and umbrella diffusers — specifically, an umbrella kit from Smith-Victor. The umbrella diffusers soften the lights and make them larger, which minimizes shadows. Using two lights at a 45-degree angle almost eliminates glare, even on works under glass. You’ll still get glare on some very textured paintings, but not much. You’ll want the lights equidistant from the artwork to ensure even lighting. For 3-D artwork, you may want to experiment with changing the distance and position of one of the lights to bring out the features of the sculpture.
Apart from the lights, you’ll want the room to be dark. Not an easy place to find in the Torpedo Factory — have you ever noticed the walls don’t reach the ceiling? — but the Bin Gallery has done an admirable job as photo studio.
Set up the easel at one end of your space, and check it with a level. Set up your camera at an appropriate distance and get it squared with the easel. That way, the finished image will be a rectangle and not a trapezoid! (That’s known as keystoning and it can be fixed in Photoshop — try a tutorial like this one.)
With the camera, artwork, and lights all set up, it’s time to take the picture. Adobe Lightroom has been an indispensable part of the process this year.
The goal is to minimize post-processing. You can fix things like glare, perspective, and white balance in Photoshop, but if you can avoid it, you’ll save hours of time on a project like this. In fact, the only processing necessary this year was to crop each image to the corners of the frames and resize. No Photoshop at all.
I use Lightroom’s tethered capture to take the pictures — just press a key on the laptop to release the shutter. This has two benefits: saving the pictures directly to the laptop, and not needing to touch the camera means no shaky pictures.
Then, I add the metadata (artwork title and artist) to the file immediately. There’s no need to go back and do it later. When I export, Lightroom can automatically use this metadata to rename the files to what you see on Flickr.
Once you’ve got it all set up — admittedly, not a short process — the rest is an easy rhythm: place the artwork, tap the laptop to take the picture, save it, and export everything directly to Flickr. Nothing moves except the artwork. With help, I can photograph, save, and upload about 40 pieces an hour.
The last component of the operation? Our amazing volunteers! Lugging over 600 pieces of art back and forth and keeping them organized in the Gallery’s closet is a lot of work, so give them a thank you if you see them!
And now you know how it’s done. The exhibit itself doesn’t go on view until February 4, but you can look at the Flickr set here as we continue to add images over the next few weeks. Let me know if you have any questions!
It’s that time of year again! Tickets ($200 each) for the 2015 Patrons’ Show Fundraiser go on sale tomorrow, January 17 at 10:00 am ONLINE ONLY!
Seating
You will select your preferred seating when you purchase your ticket. Tickets will be marked indicating your seat reservation. During the event, the floor will be taped, designating each zoned seating area. Each ticket-holder will be assigned one seat, and may purchase one additional seat for $45. Additional seats are limited and available on a first-come first-serve basis.
Dates
Tickets go on sale: Saturday, January 17, 10:00 am
Artwork on view: February 4–15
Drawing: Sunday, February 15, 4:00 pm
How Does it Work?
Please note: There will not be a web app this year as mentioned in the video!
This annual event features 600+ works of original fine art donated by Art League artists, Art League Faculty, and Torpedo Factory artists. The number of tickets sold matches the number of works donated.
For two weeks prior to the drawing, the show is on view in the Gallery, giving ticket-holders an opportunity to study the artwork and note their favorite pieces, so they’ll be prepared to select from the available artwork when their names are drawn.
On the evening of the Patrons’ Show drawing (Sunday, February 15 at 4:00 pm), tickets are randomly drawn and when the name of each ticket-holder is announced, they may select an available work of art from the show.
All proceeds go to benefit The Art League’s educational programming, exhibits, and community outreach programs! Please contact The Art League Gallery (703-683-1780) for more information about this exciting event.
A big Art League thank you to this year’s Patrons’ Show lead sponsor: Halt, Buzas & Powell, LTD
Jim, oil, by George Carr (click for a larger image)
What’s Jim thinking about behind that dark expression? We’ll never know, but we can ask the artist how this portrait came to be. Here’s our Q&A with George Carr, the painter (and former sculptor) whose portrait won the Second Place Award from juror Paul Reuther in the January All-Media Exhibit.
What was your goal with Jim?
George Carr: This painting was done in the context of an Art League open studio, where Jim is one of the regular models. Even though there was no requirement for me to achieve a good likeness of him, since he was not paying me for a portrait (rather we were paying him) I always try for a likeness of the models. It seems to me that getting a good likeness of a subject is one of the greatest challenges in representational art, so pulling it off acceptably is something to be proud of. Even some of the best portraits by the best painters are usually off in some subtle, hard-to-define way, I think.
What was the inspiration for the subject’s pose and expression?
Jim’s very masculine, middle-aged face is a rich subject every time I work from him. He has a severe, glowering brow that plays off interestingly against a barely-discernible touch of humor in the rest of his expression.
Jim (detail) by George Carr
Why are you a painter? What appeals to you about portrait and figure work?
I was a professional sculptor for a decade or so, and before that a sculptor’s assistant for artists like Frederick Hart and Raymond Kaskey. When I tried oil painting for the first time exactly ten years ago, I fell in love with it because of the greater creativity of the process as compared to sculpture. With sculpture most of the artist’s time is taken up with technical tasks like armature-building, mold making and casting.
Working with the figure has always appealed to me, maybe because I am mechanically minded and people are complex 3D structures that are fun to try to puzzle out.
Why did you decide to try oil painting on that day 10 years ago?
At the time I was a computer graphics instructor at the Maryland College of Art & Design and we got a discount on any classes we took, so I signed up for an evening oil painting class.
Do you still sculpt, or not any more?
No, I went about as far as I could with that art form and now look forward to spending the rest of my life getting better as a painter.
What’s your favorite portrait by another artist?
Robert Liberace has been an important teacher for me, and I just love his portrait of a little girl with freckles, which is untitled. Back when I was doing portrait busts I decided that there were certain factors that made a portrait subject difficult when present: youth, attractiveness, female-ness and a smiling expression. Rob nailed three of the four with his little oil study.
What are you working on now?
For the past four years or so I have been attending 3–4 long pose open studios per week, trying to get to be a better painter, and I still do that. After a disappointing show several years ago I decided to hold off trying to sell paintings. Participating in the Art League shows is my first attempt in a long time at marketing my work. I also just just joined DailyPaintworks.com to see if there might be an opportunity for sales there.
Recently I decided to hire a beautiful woman who works at my gym to sit for a portrait, but I’m not sure working working this way this makes sense for a starving artist! We’ll see.
Did you meet the 2015 solo artists at last week’s opening reception? If not, don’t fear! Here’s your introduction to these seven artists, whose exhibit proposals were selected by a panel of jurors back in 2013. Come to the 2015 Solo Preview — in the Gallery through January 22 — and scroll to the end of this post to view more of their artwork.
Medium: acrylic and mixed media
Dates: March 5 – April 6
The first solo show of the year is by Claudia Cappelle. You’ll recognize all the hallmarks of a landscape in her paintings — large expanses of color, delicate details — but these abstracts aren’t tied to particular locations.
Medium: linocut prints
Dates: May 7–June 1
John Gosling has a background in architecture and urban design, so it’s only logical that he developed an interest in the created spaces around Alexandria and DC. Our local environments, and the way we interact with them, are the subject of Gosling’s printed art.
Medium: acrylic
Dates: June 4– July 6
Continuing that exploration of our home, Maremi Andreozzi has brought her “Cloudscapes” series to the DC area’s skies. The varied colors and moods of “Potomac Skies” are a reminder to look up more often!
Medium: Kirié
Dates: July 9–August 3
Shiho Rice works in the medium of Kirié — which, despite your eye’s first impression, does not mean an in drawing or woodcut print. Kirié is actually cut from a single piece of paper, which not only creates a sharp final image, but brings shadows into play, too.
Medium: lithographs
Dates: September 9–October 5
An artist who grew up in Indonesia, Wijati Soemantoro has a more personal relationship with natural disasters than most. Soemantoro interprets the power, violence, and tragedy of volcanoes and earthquakes — and her personal experiences — in these abstract lithographs.
Medium: oil
Dates: October 8–November 9
How do you measure the passage of a year? Sheila Harrington uses the dinner table as an evocative mirror for the different seasons. These small panels, painted from life, celebrate the small moments.
Medium: ceramic and mixed media
Dates: December 9–January 4
“When I create my dolls or ceramic figures, my goal is for their character to stimulate a memory or feeling in the viewer’s mind and heart,” Kathlyn Avilatold this blog in 2013. This exhibit explores archetypes like The Nurturer, pictured above.
More artwork by these artists: (click for larger images)
Six paintings by Sheila HarringtonThree lithographs by Wijati SoemantoroDream-Go-Round by Shiho RiceThree linocuts by John Gosling: Old Town Waterfront, Great Falls, and Jones Point.April by Claudia Cappelle
“You have to know how to accept rejection and reject acceptance.” — Ray Bradbury
VCCA residencies
Deadline: January 15, May 15, September 15. Visual artists can apply now for residencies at the Virginia Center for the Creative Arts. More about the residencies →
2-D art
Deadline: February 12. Fresh Paint Magazine is looking for submissions from emerging and mid-career artists for our juried April 2015 Issue. Artists working in two dimensional fine art disciplines (except photography) are welcome to submit their work. Juror: Margaret Winslow. More about the magazine →
Emulsion at East City Art
Deadline: February 15. This call for entry is open to all residents 18 years of age or over who reside or create art within 50 miles of East City Art’s headquarters located at 922 G Street SE. Artworks in all media are eligible; the theme is “Emulsion.” Download the prospectus (PDF) →
Bethesda Church
Deadline: Rolling. River Road Unitarian Universalist Congregation in Bethesda, Maryland encourages local artists to exhibit their work in its Fellowship Hall. Artists do not have to be congregation members. There is no fee to exhibit or to apply for an exhibit, but RRUUC receives 20% of the final total of all sales. The Fellowship Hall provides two full walls with approximately 60 feet of wall space available for hanging art. Another wall of glass provides excellent daylight illumination. Focus lights provide illumination for approximately 47 feet of wall space. Each exhibit is up for about six weeks. More about becoming an exhibitor →
Interactivity: Sight and Sound
Deadline: April 17. Sounds, music or voices seen as colors is referred to as synesthesia. Artists are invited to consider this concept and propose an exhibit of works that might connote or express it for an exhibit at Montgomery College. More about “Interactivity: Sight and Sound” →
It saddens us to share that longtime Art League member and student Jamie Brooks passed away last week. The family has generously designated that donations be made to The Art League in lieu of flowers.
An accomplished pastel artist, Brooks won the Carol Bruce Pastel Award in April 2005 for Day’s Last Act, the best pastel painting in the exhibit.
Her service will be January 20 at 11:00 am at the Church of the Holy Comforter, 543 Beulah Rd, NE, Vienna, VA, 22180.
To search all Winter classes and workshops, including those that have already met once, start here.
As always, if you have questions, take a look at our FAQ or contact the School for guidance about what class is right for you. You can reach us at 703-683-2323 or [email protected]. Enjoy!
Our 2015 exhibit calendar kicks off today with the opening of two new exhibits …
January 2015 All-Media
Juror Paul Reuther (read the interview here) is the founder of the Washington Drawing Center and teaches painting and drawing at GWU and Montgomery College. He selected 124 pieces for this group show, including a large number of sculptures.
The Stones, alabaster, by John Ploch.Almost Flying, cast resin, by Paula Stern
The juror also named three awards. Definitely off to a strong start for the year!
Left to right: Ghetto in Paradise, oil, by Michele Reday Cook (Gallery Director’s Award for Best in Show); Jim, oil, by George Carr (Second Place Award); Danger Lurks, gelatin monoprint, by Katherine Rand (Third Place Award)William, oil, by Thomas Ciarniello and 100 Views of Home #31, 3-plate etching by Ann Zahn.
Solo Preview 2015
Get psyched for a year of fantastic solo artists! Check out the solo room for one work by each of these artists: three painters, two printmakers, one ceramic artist, and one Kirié artist — that’s the Japanese artform of cutting a single piece of black paper into an image.
Both these exhibits are open through Monday, January 2 with an opening reception today (Thursday) at 6:30!
A sculpture by Kathlyn Avila, a painting by Claudia Cappelle, and a lithograph by Wijati Soemantoro.
Every year, The Art League gets over 600 pieces of artwork generously donated for our 
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