ArsRSS Calls and Opportunities http://net18reaching.org/artrss/ Current Term Specific News Feed en-us Fri, 16 Apr 2021 03:00:01 -0500 240 <![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

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c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

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c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

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1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

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25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

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4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

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4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

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42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

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10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

]]>
1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

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29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

]]>
3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

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19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


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9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

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c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

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25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

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4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

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10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

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8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

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1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

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29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

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23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

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3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


]]>
9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

]]>
c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

]]>
25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

]]>
4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

]]>
10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

]]>
1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

]]>
29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

]]>
3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


]]>
9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

]]>
c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

]]>
25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

]]>
4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

]]>
10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

]]>
1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

]]>
29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

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3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


]]>
9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

]]>
c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

]]>
25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

]]>
4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

]]>
10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

]]>
1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

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29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

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23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

]]>
3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


]]>
9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

]]>
c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

]]>
25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

]]>
4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

]]>
10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

]]>
1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

]]>
29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

]]>
3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


]]>
9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

]]>
c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

]]>
25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

]]>
4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

]]>
10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

]]>
1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

]]>
29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

]]>
3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


]]>
9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

]]>
c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

]]>
25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

]]>
4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

]]>
10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

]]>
1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

]]>
29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

]]>
3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


]]>
9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

]]>
c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

]]>
25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

]]>
4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

]]>
10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

]]>
1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

]]>
29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

]]>
3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


]]>
9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

]]>
c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

]]>
25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

]]>
4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

]]>
10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

]]>
1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

]]>
29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

]]>
3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


]]>
9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

]]>
c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

]]>
25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

]]>
4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

]]>
10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

]]>
1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

]]>
29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

]]>
3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


]]>
9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

]]>
c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

]]>
25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

]]>
4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

]]>
10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

]]>
1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

]]>
29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

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3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


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9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

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c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

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c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

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1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

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25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

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4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

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10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

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8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

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1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

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29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

]]>
3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


]]>
9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

]]>
c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

]]>
25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

]]>
4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

]]>
10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

]]>
1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

]]>
29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

]]>
3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


]]>
9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

]]>
c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

]]>
25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

]]>
4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

]]>
10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

]]>
1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

]]>
29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

]]>
3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

]]>
19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


]]>
9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503
<![CDATA[On the Edge 2021 - Vancouver, British Columbia]]> Found: deadline
$5,000 in prizes. Deadline: May 15, 2021

]]>
c8c44ee78bc32e9d52a7fcff019d6330
<![CDATA[2021 Lange-Taylor Prize - Words + Images - Durham, NC]]> Found: deadline, award
$10,000 award. Deadline: May 15, 2021

]]>
c9ed91475a8cebff7c3407e9a5de5ddc
<![CDATA[Edition: A National Juried Exhibition of Photography and Printmaking - Norfolk, VA]]> Found: deadline, awards, award
$950 in awards. Deadline: May 2, 2021

]]>
1af6d23422c1e20758679a8ff579a130
<![CDATA[2022-2023 Curator-in-Residence Program Open Call - Omaha, NE]]> Found: deadline
$36,000 stipend. Deadline: May 14, 2021

]]>
25cb8d4465dfc9566706711bebcc2e68
<![CDATA[Artwork Archive Art Business Accelerator Grant]]> Found: deadline
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021

]]>
4ed73ed6c7f0355308676378dd4b5668
<![CDATA[Lakeville Art Festival - Lakeville, MN]]> Found: deadline, awards, award
$3,000 in awards. Deadline: May 14, 2021

]]>
845934b7c4b622d9e8a4a78ee08b0448
<![CDATA[NAA 24th Regional Juried Show - Newburyport, MA]]> Found: deadline, awards, award
$2,000 in awards. Deadline: May 1, 2021

]]>
47f1b4839014e8e78131133f60a4858b
<![CDATA[JAS17 - The Juried Art Show! - Online]]> Found: deadline, awards, award
$1,000 in awards. Deadline: May 3, 2021

]]>
4a98977346394317d65cccb66eca761c
<![CDATA[51st Annual River Road Show - Baton Rouge, LA]]> Found: deadline
$4,000+ in cash and merchandise. Deadline: May 13, 2021

]]>
fc9167a7b82f3a8ffd451ac20ae5c59d
<![CDATA[2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA]]> Found: deadline, awards, award
$1,025 in awards. Deadline: May 12, 2021

]]>
42499bb76eb24a10289ddaadd7fa1b5f
<![CDATA[Things that are not OK - and I'm going to start calling them out]]> Found: deadlines, deadline, submit, jurying, jury, entry, entr

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

]]>
10 April 2021, 1:00 am 2af7b62a9154d201be66fe5fd62a9e37
<![CDATA[New Corcoran Director]]> Found: award

Here's the announcement:

Corcoran community,

I’m very pleased to announce that the Corcoran School of the Arts and Design at the George Washington University has named Lauren Onkey as its next director. Lauren most recently served as the Senior Director at NPR Music, where she led a team of journalists, critics, video, and podcast makers and provided the editorial vision in creating innovative cross-platform music journalism. She will begin her director role at Corcoran on July 12. 

The goal of the Corcoran’s search committee was to find a strategic leader with the vision and experience to guide Corcoran into the future. Lauren’s lifelong commitment to the arts as an educator, music scholar, museum professional, presenter and producer makes her the right leader for our school. 

Throughout her career, Lauren has dedicated herself to the arts, cultural studies, education and civic engagement, and she believes that innovation and diversity are the key to growing our vibrant, creative community of cultural leaders. With over two decades of experience ranging from directing NPR Music's team to developing and managing a museum's award-winning education and community programs as the Vice President of Education and Public Programming at the Rock and Roll Hall of Fame and Museum, Lauren is poised to lead Corcoran’s future growth. She will help increase our school’s impact and visibility and foster student success.

During her tenure at NPR, Lauren worked with NPR's newsroom and robust member station network to expand the impact of NPR Music and continue positioning public radio as an essential force in music. At the Rock and Roll Hall of Fame and Museum from 2008-2015, Lauren led divisions such as Education, Library and Archives, Community Programs, and Visitor Services to provide programs, classes, and visitor experiences that engaged a broad audience in the history and significance of rock and roll music. 

At the Jack, Joseph and Morton Mandel Humanities Center at Cuyahoga Community College in Cleveland, Ohio, which provides civically-engaged humanities education to a large and diverse population of community college students, Lauren led the creation of curriculum and programming and developed strong community partnerships that provided students with opportunities for experiential learning. Lauren also spent fourteen years teaching at Ball State University in Muncie, Indiana, specializing in popular music studies and postcolonial literature. Over the course of her career, she has published many articles in literary studies, popular music studies, women's studies and pedagogy.

I know Lauren is excited to meet our DC community members at the Corcoran. We will share additional details in the weeks to come about her arrival. In the meantime, please join me in welcoming Lauren and her husband to our community!

Thank you,

Kym Rice

Interim Director

Corcoran School of the Arts & Design

The George Washington University

]]>
8 April 2021, 6:41 pm 64e1d4859f874183d334db77fe7fd892
<![CDATA[An open letter to DMV area universities]]> Found: submit, awards, award, jury, entry, entr

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists.

Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. 

This "little coordination" is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university itselg.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may and often are ignored.

And the Whitney Biennial is not what it used to be... not even close.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations, and galleries to submit works for consideration - all to be done online, of course, and without an entry fee.

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American contemporary art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.  When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University.

Boom! A trustee drives the idea and the university will suddenly pay attention!

This will not be an easy job to do, and as it grows, so will the bureaucracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate (unless a Trustee is involved). They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a bureaucracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

I initially proposed this idea locally about two decades ago - and everyone ignored it.

In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring.

There’s nothing more empowering than an idea whose time has come.

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1 April 2021, 2:00 am 3d886442afae8fd9206cc3f2fa847b23
<![CDATA[Studio space available]]> Found: jurying, jury

As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve!

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29 March 2021, 3:57 pm a9ec5ad3aa34ab55ad37f1828fd554d7
<![CDATA[Shiri Achu virtual exhibition]]> Found: award, entr

41inPrint:Worldwide

A VIRTUAL ART EXHIBITION

By Award-winning International Artist SHIRI ACHU

SAT. APRIL 10TH – MON. APRIL 19TH 2021

_________________________________

April 10th - Private Zoom Opening party

April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily)

April 19th - Virtual book launch.

From my good friend Shiri Achu:

Tune out and Zoom in from the comfort of home with a glass of wine to the Opening party of 41InPrint:Worldwide on Saturday 10th April at 7pm EST. Following the Zoom Opening Party, again, tune in, this time on YouTube and Facebook where the International artist Shiri Achu will be hosting DAY 1 of her first ever online exhibition entitled, 41InPrint:Worldwide. This 8 day long Virtual Exhibition will be opened to the public - WORLDWIDE - from Sunday, April 11th 2021 through to Sunday April 18th 2021, starting each day at 7:00pm EST. Each day of the exhibition will have its own theme and will be presented by one of four seasoned hosts; Diane Daiga of Ddtalks, Gwendoline F.D of Gwendy Media, Nico Kang and MC Chaz. The program will also have a daily special guest for the ‘4+1 talk’, interview segment. This is not an event to be missed!

Born in Cameroon, raised in London, and now residing in Washington DC, this marks the 6th of such ‘InPrint’ exhibitions. With her ‘InPrint’ annual series of exhibitions, Shiri selects a focal destination city to exhibit her art and to showcase and expose the African culture to its citizens. The first of the InPrint series, 35InPrint:LONDON took place in April 2014 at The Strand Gallery in Central London. 36InPrint:DC took place in May 2016 at Gallery A in Central Washington DC. 37InPrint:AUSTRALIA took place in July at Mama Jambo in Australia. 38InPrint:JAMAICA took place in August 2017 at The Regional Headquarters of the University of the West Indies, Kingston, Jamaica. 

39InPrint:TORONTO, took place in November at Ariilon, Toronto, Canada.

This time, because of the Worldwide Pandemic, the gallery comes to you in an intimate series of daily online unveilings of skillfully crafted depictions of everyday life and culture throughout the continent of Africa. Shiri Achu’s fluid yet grounded style creates layers of dimension and emotional depth that allow the viewer to truly enter into the earthy yet colorful lives of everyday lives all across Africa. The online exhibition will also feature a host of special guests daily including, Famous American Soul Singer Angie Stone, renowned Jamaican Dub Poet Mutabaruka, Nigerian movie industry pioneer, actor Zack Orji and revolutionary Cameroonian musician Witty Minstrel among many others. During the ‘4+1 TALK’ time, Shiri talks about ‘art’, the pandemic and other topics with each of her special guests.

All art pieces unveiled during that day of the exhibition will be available on her website www.shiriachuart.com immediately after the exhibition for purchase. The last piece on day 8 will mark 41 pieces exhibited throughout the 8 days. On Monday April 19th, Shiri Achu will launch a Virtual book, an anthology collection inspired by her art.

Everyone (art lovers, supporters, fans, where ever you are in the world etc) can register for the exhibition on her website www.shiriachuart.com and receive a 20% discount on all art purchased throughout the exhibition. Registered persons will also receive the Private viewing ‘Opening party’ zoom link. During the 8 daily exhibition broadcasts, a secret number or letter will appear in the live stream, and the first three people who correctly guess the secret word or phrase will be eligible to win some awesome prizes.

Wherever you are in the world, you are cordially invited to 41InPrint:Worldwide. Take a journey through the motherland and enjoy the daily unveiling of fresh, bold African inspired art.

41inPrint:Worldwide

8 Days Exhibition & Special Guests on ‘4+1 TALK ’

Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson

Day 2 - Monday 12th - Witty Minstrel

Day 3 - Tuesday 13th - Jessica Mbangeni

Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh

Day 5 - Thursday 15th - Blick Bassy

Day 6 - Friday 16th - Mutabaruka

Day 7 - Saturday 17th - Angie Stone

Day 8 - Sunday 18th - Zack Orji

]]>
23 March 2021, 3:48 pm 401e912725352726d7648060fac6aaa4
<![CDATA[Art Fair Types]]> Found: entry, entr

As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004:


One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple: 

"Do you like it?" 
"Yeah, I like it- it's just what we've been looking for." 
"Where would we put it?" 
"We have a couple of spots that it'd fit."
"Do you really like it." 
"Yeah, how about you?" 
"Yeah, I kinda of like it." 
"Should we get it?" 
"If you want it." 
(five minutes later) "Let's think about it." 
"OK" 
[To me] "Do you have a business card?" 

The couple (not married): 
Her: "Do you like it?" 
Him: "Sssoright" 
Her: "Where would we put it?" 
Him: "Dunno." 
Her: "Do you really like it." 
Him: "So'OK.. Yeah, how about you?" 
Her: "Yeah, I kinda, sorta, really like it." 
Him: "Dunno though" 
Her: "What? You don't like it?" 
Him: "If you want it." 
(five minutes later) Him: "Let's think about it." 
Her or Him: "OK" [To me] "Do you have a business card?" 


The Single Woman (SW) with a Woman Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... it's nice" 
SW: "It's exactly what I've been looking for!" 
Friend: "I have a friend who does work just like this..." 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "Yeah... it's OK" 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "There's a few more booths we haven't seen." 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Woman (SW) with a Man Friend: 
SW: "WOW! Now, I really like this!" 
Friend: "Yeah... Cool" 
SW: "It's exactly what I've been looking for!" 
Friend: "I think it's a lithograph" [it's actually a charcoal] 
SW: "I am really drawn to it!" 
Friend: "Are you really sure you like it?" 
SW: "Uh - yeah!... why? Don't you like it?" 
Friend: "I have something like it... I got it cheaper though..." 
SW: "I think it's really good... I think it's the first piece in this whole show that I really like." 
Friend: "You like lithographs?" 
SW: "I think I'm going to buy this." 
Friend: "Are you sure?" 
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" 
(five minutes later) SW: "Do you have a business card?" 

The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" 
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
 "Charge
[Me] "I can send you more information on this artist..." 
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?" "
No, thanks..."  (He/She buys it and walks away)

The "I'm glad you're here guy (IGYHG)"
IGYHG: "Hey! I've been looking for you!" 
[Me]: "Hi, how are you?" 
IGYHG: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
IGYHG: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
IGYHG: "Well, let me look at what you've got!" 
[three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!"

The "I Shudda Bought It Last Year Guy (Shudda)"
Shudda: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
Shudda: "... been walking this whole fair looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
Shudda: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
Shudda: "Well, let me look at what you've got!" 
[three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" 
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
Shudda: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
Shudda: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
Shudda: "I shudda bought it last year" [Walks away] 
Shudda: "You gonna be here next year?" 

The "Where's That Piece Guy (WTP)"
WTP: "Hey! You're here again!" 
[Me]: "Hi, how are you? Yeah... It's our 7th year here..." 
WTP: "... been walking this whole fair specifically looking for you!" 
[Me]: "Yeah... lots of dealers this year... glad you found us!" 
WTP: "Howsa been goin'?" 
[Me]: "Yes... quite good actually..." 
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " 
[Me]: "Yeah... that is a nice piece." 
WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it]
WTP: "Do you still have it?" 
[From here there are two paths...] 

Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." 
WTP: "Ah! - I really wanted that one! Do you have another one?" 
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" 
WTP: "I really wanted that piece; and it was a good price too..." 
[Me]: "Maybe you'd like some of his new work..." 
WTP: "I shudda bought it last year" 
[Walks away] WTP: "You gonna be here next year?" 

Path Two [Me]: "Let me get it for you... I have it in the back!" 
WTP: "Great" [I bring it out and give to WTP] 
WTP: "Yeah this is it! It's great!" 
[Me]: "This artist has done really well this last year and ---" 
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...]

]]>
17 March 2021, 6:37 pm d08b5dfe3eb9f44403c9e74e1bf86a9c
<![CDATA[More get a thick skin ops!]]> Found: submissions, submission, deadline, submit

 As I preach - artists need a thick skin!

Dear Florencio,

On behalf of the Washington Project for the Arts, I would like to thank you for submitting your work to the open call for our Collectors' Night 2021 benefit auction. And to thank you for your patience. With the extended deadline, we had many more submissions to review and consider in relationship to the auction's theme "Am I Altering Your Aura?" and the Audre Lorde quote. We regret to inform you that your work was not selected for inclusion in the auction this year.

We know that you invested time and energy in this process and that this might be disappointing news. If you are interested in remaining connected to WPA, we encourage you to sign up for our e-newsletter or to follow us on Facebook or Instagram--if you haven't already. We post opportunities throughout the year and we review submissions to Open Call for Ideas on a quarterly basis.

As we come up on a year of the pandemic, we look to the future with hope and wish you all the best!

Sincerely,

Emily

Emily Fussner, Event Manager

WASHINGTON PROJECT FOR THE ARTS

]]>
3 March 2021, 6:07 pm 7093c8ac6ce616e99c02b848bea5e370
<![CDATA[Maremi Andreozzi and Wayson Jones at Adah Rose]]> Found: residency, residence

 Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs...

Start here:

"May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery


Maremi has created a remarkable and sensitive group of portraits of women entitled "History Adorned". Some of the women are famous, others have only recently begun to have their fascinating stories told.  They range from teachers to doctors, queens to courtesans, scientists to poets, couturiers to activists. Each is painted in silhouette, ageless and beautiful. Their adornments; brooches, lace, earrings, hats and dress are exquisite and give them each a wonderful uniqueness.

Maremi grew up and lives in Alexandria Virginia. She earned a BFA from Cornell University and a MFA from Clemson University. She was an artist in residence at the International Artist Residency in La Macina di San Cresci in Chianti, Italy. She has exhibited at the Tephra Institute for Contemporary Art, the Smith Center, the Rachel Schlesinger Art Center/NOVA, the Torpedo Factory, Radford University, Glenview Mansion and the Howard County Council for the Arts. Her work is in many private and public collections including Marriott Corporation and the DC Commission on the Arts and Humanities. This is Maremi's first show with Adah Rose Gallery.


The paintings of Wayson Jones are a mere six by six inches, yet each has a monumental presence. They are tactile, lavish, alluring and modest. The physicality of paint is explored in each painting and the beauty of color. Some of the paintings have a rich impasto with bold gestures and energy. Other works are smooth as silk. Wayson has a background in music and each painting performs in wonderful and powerful ways.

Wayson is a painter, musician, and spoken-word artist. He received a degree in music from the University of Maryland and later went on to perform with the renowned poet Essex Hemphill, as part of Washington DC's burgeoning Black gay and lesbian arts scene of the 80's and 90's. The two performed at DC Space, Blues Alley, The Kennedy Center, The Painted Bride (Philadelphia), LACE (Los Angeles) and LaMama Theater (NYC) They appeared in works by filmmaker Isaac Julien and Videographer Marlon Riggs. Wayson's visual art is informed by his performance experience and an exuberant approach to materiality and process. He has exhibited at the Black Rock Center for the Arts, Arts/Harmony Hall, Northern Virginia Community College and DCAC. 
Wayson received a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work is in numerous public and private collections including the DC Commission on the Arts and Humanities and the MGM National Harbour. This is Wayson's first show with Adah Rose Gallery.

March 3- April 10, 2021

Open by Appointment Most Days

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

301-922-0162

www.adahrosegallery.com

]]>
28 February 2021, 11:43 am 0801da867a08055c80d807b8a178211e
<![CDATA[Thick skin]]> Found: submit, awards, award

 I'm always preaching that artists need to have thick skins... 

Dear Florencio,

 Thank you for applying for an Independent Artist Award (IAA) from the Maryland State Arts Council (MSAC). Unfortunately, panelists did not recommend your submitted work for an IAA this year. Please know that this decision in no way diminishes the fact that MSAC values the work of every artist in our state and honors your contributions to improving the quality of life for all Marylanders. A list of the 2021 MSAC IAA Panelists as well as a complete list of artists selected for 2021 awards will be posted on the MSAC website, msac.org, by May 15, 2021.

Information about MSAC’s regular grants and programs - including Creativity Grants that support independent artist’s projects and Professional Development Grants that support learning opportunities for artists - can be found at msac.org. Additionally, MSAC offers an array of online offerings, including professional development topics, which can be found on msac.org/events/virtual-events

We also look forward to launching our new website in the coming weeks, and invite you to create or update your Artist Registry profile so MSAC can showcase and promote your work for sale. Please keep an eye out for instructions to update your profile soon. To stay connected with the latest Maryland arts events, opportunities, and news, follow us on Facebook, Instagram, and Twitter @mdartscouncil.

Thank you again for participating in this year’s program, and we encourage you to apply again in the future. Should you have any questions, please connect with Program Directors, Emily Sollenberger or Laura Weiss for further information.

Thank you,

Maryland State Arts Council

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19 February 2021, 10:11 pm a0225c64f5fdf4706ff1c3ae7d51f5cd
<![CDATA[Opportunities for Artists]]> Found: submissions, submission, deadline, submit, entry, entr

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021.

HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.

HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.

Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.


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9 February 2021, 2:00 am c4eaed0f96aacff4b3ad24c553371503