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1. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
2. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
3. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
4. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
5. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
6. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
7. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
8. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
11. Source: Art Competitions provided by Artshow.com
Item: Materials Hard + Soft Contemporary Craft Competition - Denton, TX
$1,000 Best in Show, $300 Best in Media Category. Deadline: Oct 14, 2022
Enclosure
13. Source: Art Competitions provided by Artshow.com
Item: Memento - Cohasset, MA
$1,000 in awards. Deadline: Oct 11, 2022
Enclosure
16. Source: Art Competitions provided by Artshow.com
Item: Fall 2023 Mural Showcase - Missoula, MT
Artists paid $2400-8400. Deadline: Oct 8, 2022
Enclosure
17. Source: Art Competitions provided by Artshow.com
Item: The Bennett Prize - Muskegon, MI
$50,000 + Solo Exhibition; $10,000 Runner Up. Deadline: Oct 7, 2022
Enclosure
18. Source: Art Competitions provided by Artshow.com
Item: Best American Artist - Online
$1,000 award. Deadline: Oct 6, 2022
Enclosure
19. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
20. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
21. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
22. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
23. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
24. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
25. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
26. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
27. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
28. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
29. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
30. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
31. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
32. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
33. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
34. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
37. Source: Art Competitions provided by Artshow.com
Item: Materials Hard + Soft Contemporary Craft Competition - Denton, TX
$1,000 Best in Show, $300 Best in Media Category. Deadline: Oct 14, 2022
Enclosure
39. Source: Art Competitions provided by Artshow.com
Item: Memento - Cohasset, MA
$1,000 in awards. Deadline: Oct 11, 2022
Enclosure
42. Source: Art Competitions provided by Artshow.com
Item: Fall 2023 Mural Showcase - Missoula, MT
Artists paid $2400-8400. Deadline: Oct 8, 2022
Enclosure
43. Source: Art Competitions provided by Artshow.com
Item: The Bennett Prize - Muskegon, MI
$50,000 + Solo Exhibition; $10,000 Runner Up. Deadline: Oct 7, 2022
Enclosure
44. Source: Art Competitions provided by Artshow.com
Item: Best American Artist - Online
$1,000 award. Deadline: Oct 6, 2022
Enclosure
45. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
46. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
47. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
48. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
49. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
50. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
51. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
52. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
53. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
54. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
55. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
56. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
57. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
58. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
59. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
60. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
63. Source: Art Competitions provided by Artshow.com
Item: Materials Hard + Soft Contemporary Craft Competition - Denton, TX
$1,000 Best in Show, $300 Best in Media Category. Deadline: Oct 14, 2022
Enclosure
65. Source: Art Competitions provided by Artshow.com
Item: Memento - Cohasset, MA
$1,000 in awards. Deadline: Oct 11, 2022
Enclosure
68. Source: Art Competitions provided by Artshow.com
Item: Fall 2023 Mural Showcase - Missoula, MT
Artists paid $2400-8400. Deadline: Oct 8, 2022
Enclosure
69. Source: Art Competitions provided by Artshow.com
Item: The Bennett Prize - Muskegon, MI
$50,000 + Solo Exhibition; $10,000 Runner Up. Deadline: Oct 7, 2022
Enclosure
70. Source: Art Competitions provided by Artshow.com
Item: Best American Artist - Online
$1,000 award. Deadline: Oct 6, 2022
Enclosure
71. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
72. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
73. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
74. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
75. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
76. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
77. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
78. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
79. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
80. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
81. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
82. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
83. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
84. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
85. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
86. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
89. Source: Art Competitions provided by Artshow.com
Item: Materials Hard + Soft Contemporary Craft Competition - Denton, TX
$1,000 Best in Show, $300 Best in Media Category. Deadline: Oct 14, 2022
Enclosure
91. Source: Art Competitions provided by Artshow.com
Item: Memento - Cohasset, MA
$1,000 in awards. Deadline: Oct 11, 2022
Enclosure
94. Source: Art Competitions provided by Artshow.com
Item: Fall 2023 Mural Showcase - Missoula, MT
Artists paid $2400-8400. Deadline: Oct 8, 2022
Enclosure
95. Source: Art Competitions provided by Artshow.com
Item: The Bennett Prize - Muskegon, MI
$50,000 + Solo Exhibition; $10,000 Runner Up. Deadline: Oct 7, 2022
Enclosure
96. Source: Art Competitions provided by Artshow.com
Item: Best American Artist - Online
$1,000 award. Deadline: Oct 6, 2022
Enclosure
97. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
98. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
99. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
100. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
101. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
102. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
103. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
104. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
105. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
106. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
107. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
108. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
109. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
110. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
111. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
112. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
115. Source: Art Competitions provided by Artshow.com
Item: Materials Hard + Soft Contemporary Craft Competition - Denton, TX
$1,000 Best in Show, $300 Best in Media Category. Deadline: Oct 14, 2022
Enclosure
117. Source: Art Competitions provided by Artshow.com
Item: Memento - Cohasset, MA
$1,000 in awards. Deadline: Oct 11, 2022
Enclosure
120. Source: Art Competitions provided by Artshow.com
Item: Fall 2023 Mural Showcase - Missoula, MT
Artists paid $2400-8400. Deadline: Oct 8, 2022
Enclosure
121. Source: Art Competitions provided by Artshow.com
Item: The Bennett Prize - Muskegon, MI
$50,000 + Solo Exhibition; $10,000 Runner Up. Deadline: Oct 7, 2022
Enclosure
122. Source: Art Competitions provided by Artshow.com
Item: Best American Artist - Online
$1,000 award. Deadline: Oct 6, 2022
Enclosure
123. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
124. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
125. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
126. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
127. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
128. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
129. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
130. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
131. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
132. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
133. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
134. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
135. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
136. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
137. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
138. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
141. Source: Art Competitions provided by Artshow.com
Item: Materials Hard + Soft Contemporary Craft Competition - Denton, TX
$1,000 Best in Show, $300 Best in Media Category. Deadline: Oct 14, 2022
Enclosure
143. Source: Art Competitions provided by Artshow.com
Item: Memento - Cohasset, MA
$1,000 in awards. Deadline: Oct 11, 2022
Enclosure
146. Source: Art Competitions provided by Artshow.com
Item: Fall 2023 Mural Showcase - Missoula, MT
Artists paid $2400-8400. Deadline: Oct 8, 2022
Enclosure
147. Source: Art Competitions provided by Artshow.com
Item: The Bennett Prize - Muskegon, MI
$50,000 + Solo Exhibition; $10,000 Runner Up. Deadline: Oct 7, 2022
Enclosure
148. Source: Art Competitions provided by Artshow.com
Item: Best American Artist - Online
$1,000 award. Deadline: Oct 6, 2022
Enclosure
149. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
150. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
151. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
152. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
153. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
154. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
155. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
156. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
157. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
158. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
159. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
160. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
161. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
162. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
163. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
164. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
167. Source: Art Competitions provided by Artshow.com
Item: Materials Hard + Soft Contemporary Craft Competition - Denton, TX
$1,000 Best in Show, $300 Best in Media Category. Deadline: Oct 14, 2022
Enclosure
169. Source: Art Competitions provided by Artshow.com
Item: Memento - Cohasset, MA
$1,000 in awards. Deadline: Oct 11, 2022
Enclosure
172. Source: Art Competitions provided by Artshow.com
Item: Fall 2023 Mural Showcase - Missoula, MT
Artists paid $2400-8400. Deadline: Oct 8, 2022
Enclosure
173. Source: Art Competitions provided by Artshow.com
Item: The Bennett Prize - Muskegon, MI
$50,000 + Solo Exhibition; $10,000 Runner Up. Deadline: Oct 7, 2022
Enclosure
174. Source: Art Competitions provided by Artshow.com
Item: Best American Artist - Online
$1,000 award. Deadline: Oct 6, 2022
Enclosure
175. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
176. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
177. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
178. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Much Needed Break by Samantha Hecox

3rd Place: Ice Bucket by Nadia Hewchuck

Honorable Mention: Fort! by Anastasia Walsh

Photography Category

1st Place: The Gymnast by Arindam Dasgupta

The Gymnast by Arindam Dasgupta
The Gymnast by Arindam Dasgupta

2nd Place: Warbler House by Julie Steinberg

3rd Place: Snow Day by Regina Boston

Plein Air Competition

1st place: Saturday Market by Vicky Zhou

Saturday Market by Vicky Zhou
Saturday Market by Vicky Zhou

2nd place: OK Morning! by Robert Pearlman

3rd place: Water Fountain by Carrie Adler

Honorable mentions: Professor by Holly Buehler; Outdoor Seating, Kensington by Garine Magary

Student Invitational

Winner: The Bearer by Elielle Kayomb

The Bearer by Elielle Kayomb
The Bearer by Elielle Kayomb

2nd Place: Hammer Brooch by Nadia Hewchuck

3rd Place: A Gazelle in the Water by Stephanie Fernandez

Enclosure
179. Source: Daily Campello Art News
Item: Job in the Arts
Date: 3 September 2022, 1:00 pm

Chief Executive Officer, International Arts & Artists 

International Arts & Artist's Board of Trustees is immediately seeking a dynamic, skilled, experienced leader to become IA&A's next President and Chief Executive Officer when our founder David Furchgott retires this fall.

Ideal candidates will have:

  • A passion for IA&A’s mission of increasing cross-cultural understanding through the arts.
  • 10+ years appropriate professional experience, including at least five years in an executive role.
  • Substantive connections in the arts and strong relationships with national & international arts leaders.
  • A record of success in the growth of her/his past endeavors. • A deep understanding of, and a driving commitment to, the arts and cultural exchange.
  • A history of effective leadership and the ability to motivate and inspire a small but talented team.
  • Entrepreneurial instincts with strong business acumen with a drive for results, and a track record in building new relationships and developing new programs.
  • Track record in building revenue earned and charitable revenue streams. Compensation ranging from $120,000 to $145,000 plus health insurance and other benefits, and reasonable moving expense reimbursement (depending upon experience).

To learn more about this great opportunity, download the full job description. To apply visit DRi Waterstone.

IA&A at Hillyer | 9 Hillyer Ct, NW, Washington, DC 20008

(202) 338-0680 | | atHillyer.org

Enclosure
180. Source: Daily Campello Art News
Item: Hope and Healing: 2022 Prince George's County Juried Exhibition
Date: 22 August 2022, 1:30 am

From PG County:

Dear Artists,

We will be displaying Hope and Healing: The 2022 Prince George's County Juried exhibition at Montpelier Arts Center this winter, from November 2, 2022 through January 6, 2023. The artwork will be selected by the juror, Leslie Pelzer, and then will be installed and displayed in the gallery space.

We would like to encourage you to apply to the call for entry for this exhibition. Artists may submit up to 3 samples of work for consideration in relation to the exhibit's title and theme. All media are welcomed, please refer to the size requirement information in the call for entry text.

The deadline to apply will be October 7, 2022 at 11:59 pm. All applications must be submitted online through Submittable. Please create a free account, if needed. https://m-ncppc.submittable.com/submit.

Please send any questions to Stuart Diekmeyer (stuart.diekmeyer@pgparks.com) or Sara Caporaletti (sara.caporaletti@pgparks.com)

Enclosure
181. Source: Daily Campello Art News
Item: The curious case of Nikole Hannah-Jones and her ignorance of Cuba's virulent racism
Date: 19 August 2022, 12:19 am

When I first wrote the below post a few years ago, I then printed it and mailed it to Nikole Hannah-Jones.... hopefully she's better educated now, although dogma is a pretty harsh mistress.

New York Times journalist Nikole Hannah-Jones, the leader of that paper's controversial 1619 Project recently showed a spectacular lack of background knowledge on the Cuban dictatorship's well-documented racist history and abuses of its black population by her statement that If you want to see the most equal, multiracial democ … it’s not a democracy — the most equal, multiracial country in our hemisphere, it would be Cuba,” and then proceeding to cite socialism as her reason to make the statement.

Ms. Hannah-Jones' rosy-eyed view of the Marxist dictatorship's oppression of its citizens, especially its Black citizens not only reveals loads about her own political leanings, but also serves as a brilliant example of suspicious lack of research skills about a subject as widely discussed as Cuba's oppressive and racist government.

Had Ms. Hannah-Jones - who visited Cuba in 2008 - bothered to look past her clear admiration for the Marxist government, and bothered to take a quick tour of the facts, she would have discovered that much has been written and documented about racism in Cuba, and it was even one of the earliest subjects addressed by the Washington Post's Eugene Robinson upon his arrival to the DMV a few decades ago from his various Latin American postings.In his article a couple of decades ago, Cuba Begins to Answer Its Race Question, Robinson, also clearly and openly a very extreme left-wing oriented writer, tried hard to find excuses for the dictatorship, but nonetheless admits that:

Academics say that black Cubans are failing to earn university degrees in proportion to their numbers--a situation to which Castro has alluded publicly. The upper echelons of the government remain disproportionately white, despite the emergence of several rising black stars. And while perceptions are difficult to quantify, much less prove true or false, many black Cubans are convinced that they are much less likely than whites to land good jobs--and much more likely to be hassled by police on the street, like Cano's husband, in a Cuban version of "racial profiling."
But how about some Cubans inside Cuba discussing the subject?
In primary [Cuban] education, skin color is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention color in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States
A lot of hopes have been pinned by many people (who know little about Cuba and the repressive nature of its government) on President Obama's monumental decision to re-establish diplomatic relations with the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:
...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana
And thus, it is curious to me that in his attempt to re-establish diplomatic ties, our socially conscious President (and his cadre of advisors) back then also - like Ms. Hannah-Jones - appeared to know little or nothing about the way that Afro-Cuban citizens are treated in their own country.

In reference to the President's visit to Cuba, 
Odette Casamayor-Cisneros, an associate professor of Latin American and Caribbean literatures and cultures at the University of Connecticut and a scholar at Harvard University, and writing in Ms. Hannah-Jones own newspaper, noted in the New York Times that  
“The images of the meetings, the agreements, they’re all shameful for many black Cubans — I’m including myself in this — because it’s difficult to feel represented.
Was the projected flow of American tourists expected to help Black Cubans in a pre-COVID Cuba? Roberto Zurbano, a Cuban expert in Afro-Cuban identity, race and literature based out of Havana wrote in his 2013 New York Times article that:
Most remittances from abroad — mainly the Miami area, the nerve center of the mostly white exile community — go to white Cubans. They tend to live in more upscale houses, which can easily be converted into restaurants or bed-and-breakfasts — the most common kind of private business in Cuba. Black Cubans have less property and money, and also have to contend with pervasive racism. Not long ago it was common for hotel managers, for example, to hire only white staff members, so as not to offend the supposed sensibilities of their European clientele.
Zurbano was subsequently punished by his Marxist government for daring to express that opinion on the pages of Ms. Hannah-Jones employing newspaper. Because that's how Communists roll!

That "not long ago" is still the case, as anyone who has been to Cuba recently can testify to and which Ms. Hannah-Jones could clearly see during her 2008 visit to the island - it is very rare to see a black face in any of Havana's "tourist only" hotels and nearby beaches. Discussing those lucrative jobs, Yusimí Rodríguez López, an Afro-Cuban independent journalist, said in a 2016 New York Times article that there were job listings in Revolico — sometimes called Cuba’s underground Craigslist — “where they say they only want whites.”

In the same NYT article we read:
“They talk a lot here about discrimination against blacks in the United States. What about here?” said Manuel Valier Figueroa, 50, an actor, who was in the park on Monday. “If there’s a dance competition, they’re going to choose the woman who is fair-skinned with light, good hair. If there’s a tourism job, the same.”

He added: “Why are there no blacks managing hotels? You don’t see any blacks working as chefs in hotels, but you see them as janitors and porters. They get the inferior jobs.”
One would hope that Ms. Hannah-Jones' exploration of Cuba, a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public, could at least have educated her on the disturbing status of blacks in their own island nation.

Fact: Twice as many African slaves were brought to Cuba than to the United States... twice!

And what really bugs me, in my own pedantic hell, is how often historically and socially clueless American academics, journalists, activists, etc. make spectacularly ignorant statements - as Ms. Hannah-Jones did - about the government of one of the world's most racist dictatorships (a government which talks a talk of equality while walking a walk of institutionalized racism against its own Black population) without even mentioning the issue of racism... or is Ms. Hannah-Jones' case praising the socialist dictatorship!

Ms. Hannah-Jones should learn about the Cuban version of the 1619 Project, which in Cuba's case would have been called the 1511 Project, as that was when Spanish Conquistador Diego Velázquez de Cuéllar set out from Hispaniola to establish the first Spanish settlement in Cuba, and brought the first African slaves to the island.

Since then and to its present day, Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

Antonio Maceo


General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, Black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically and although 65% of Cubans self-identify as white in recent censuses, many experts estimate that today the island is actually about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. 

In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."
"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana
While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism on paper, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper. They would have told Ms. Hannah-Jones during her visit to Cuba in 2008 - but she probably didn't notice that nearly everywhere that she visited, the presence of the Cuban government was not far, and people fear that presence.

The harsh Cuban reality today, Black Cubans will tell you, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.
Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament
Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants' atrocities should be dealt with in silence? -- especially in view of our nation's own racial history and what Ms. Hannah-Jones so expeditiously attempted to document in her controversial 1619 Project? 
We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight.

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.
What would she say if she had discovered the "permanent and shameful police harassment of young Cubans of African descent in our streets..." as noted by Leonardo Calvo Cardenas, the Cuban National Vice-Coordinador of the Citizens' Committee for Racial Integration (Comité Ciudadanos por la Integración Racial (CIR))?

As Omar López Montenegro, the Black Cuban director of Human Rights for the Fundación Nacional Cubano Americana recently stated in the Panama Post:
The situation for Black Cubans worsened after Castro assumed power... even though there were always racial issues, before Castro in Cuba there had been Black governors, a President of the Senate, Martín Morua Delgado, and also many Congressmen such as the labor leader Jesús Menéndez, a member of the Socialist Party. 

When Cuba became a Communist dictatorship, and democracy was lost, the advance of Black Cubans came to a halt. 

And this is what makes it even more maddening to a pedantic Virgo like me -- when even the lackeys of the Cuban dictatorship like Alarcon Quesada and Black voices from within the brutalized island speak out, knowing that there will be consequences - as Zurbano discovered after his New York Times opinion piece - why does Ms. Hannah-Jones live in this rose-colored atmosphere where she perceives the poor jailed island as an example of equality?

Does she know that even though about 60% of Cubans are Black or brown, that 94.2% of the students at the University of Havana are white?  Is she aware - as evidenced by the hundreds of videos one can see at #SOSCuba, that the epicenters of the demonstrations in most Cuban cities during this historic uprising are in the Black neighborhoods? Does she know about Diubis Laurencio Tejeda, a young Black Cuban from La Güinera who was arrested and then murdered by the Cuban police? When notified that her son was dead, his mother committed suicide. Does she know that her own newspaper, The New York Times documented a few years ago how Black Cubans are routinely discriminated in Cuba? Is she aware that while 48% of white Cubans have an annual income of less that $3,000 USD, a whooping 95% of Black Cubans fall below that incredible line?

By the way... In 1959 Cuba had the third-highest per capita income in Latin America, exceeded only by Argentina and Venezuela (around $550 a year back then which is about $5,170 in today's dollars). In 1959 that was also higher than Italy, Japan, Ireland, Spain, and Portugal and every single Eastern European nation in the Soviet bloc.

Nikole Hannah-Jones now has an opportunity to clear the air, clear her mind, clear her perception and gain instant respect from Cubans of all races. All she has to say is that she's learned a lot since the statements that she made in 2019 surfaced during the current Cuban uprising - which as video evidence clearly shows, appears to involve Cubans of all races - and state that she was wrong and is now aware of the sorry and sad state of the Marxist government's deeply rooted racism.

Boom! Case closed.
Enclosure
182. Source: Daily Campello Art News
Item: Paint the Town Labor Day Show 2022
Date: 17 August 2022, 2:03 am

 I'm sooooooooooo excited to jury this show coming up Labor Day weekend!

The three-day Paint the Town Labor Day Show & Sale. This is one of the longest-running and largest art shows in the region, with hundreds of works by 175 local artists, all members of the Montgomery Art Association. The event is free and open to the public.

All works are for sale. In addition, the Artist Marketplace will have small works, prints and notecards available for purchase. A portion of all sales proceeds goes to support MAA's arts mission.

Walk around Kensington on Saturday, and you'll see dozens of artists painting and drawing. Those are participants in our annual Plein Air Competition!

From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes. The competition is open to all adults and children. It's free for kids under 18 and current MAA members; adults pay $10.

Full three-day schedule here.

Participating Artists

Sasa Aakil

Laura Aikman

Anne Albright

K. Lin Allen

Nataliya Andreyeva

Peijisan Art

Ken Bachman

Matthew Baker

Jennifer Barlow

Jennifer Lynn Beaudet

Marcia Bhorjee

Nancy Blacker

Walt Blackwell

Elissa Borzilleri

Regina Boston

Rick Bowers

Blandine Broomfield

Susan Fitch Brown

Virginia Browning

Holly Buehler

Sandra Cane

Sandra Cepaitis

Jing-Jy Chen

Pat Coates

Carol Cober

Shannon Cockett

Amanda Coelho

Meredith Coffey

Deborah Cohen

Deborah Cole

Lou Ann Collins

Jean Cooper

Mari Craig

Susan Crawford

Jennifer Crouch

Kellie D.

Beth Daly

Arindam Dasgupta

Sarah Clayton Davis

Nan Dawkins

Amelia De Silva

John Dillon

Paul DiVito

Grace Dobrow

Jamie Downs

Jennifer Dreyfus

Sandra Edmonson

Lynn Faiola

Rosemary Fallon

Stephanie Fernandez

Jean Finkleman

Elisabeth Fletcher Nicholson

Susan Friend

Susan Sinclair Galego

Kalpana Goel

Susanna Goldman

Ann Gordon

Madeleine Greenwald

S. J. Hadley

Jack Hammond

Christina Haslinger

Samantha Hecox

Nadia Hewchuck

Christopher Hoppe

Carrie Horton

Jeffrey Human

Beverley Hunter

Margaret Ingram

Monica Ingudam

Jonathan Jaeger

Benita Kane Jaro

Edward Johanson

Bill Johnson

Hiral Joshi

Anastasiya Kavalenka

Elielle Kayomb

Rajendra KC

Cecile Kirkpatrick

Jim Klumpner

Edward Knight

Joyce Koeneman

Alan Kolnik

Galina Kolosovskaya

Mary Kosterlitz

Joanne LammRuth Lampi

Karen Lantner

Maria Elena Lazarte

Robin Lazarus-Berlin

Margo Lehman

Elissa Leibowitz Poma

Robert LeMar

Carol Leo

Judith Levine

Lynn Lewis

Nancy Loomis

Marta Lopez Teigeiro

John MacArthur

Lalleh Mahlouji

Rahela Majidi

Barbara Mandel

Gale Marcus

Isabella Martire

Mark McAlister

Karen Merkin

Christine Merry

Debbie Miller

Audrey Moog

Ally Morgan

Laura Myers

Sara Niles

Maedeh Noroozi

Barbara Novak

Elizabeth Ochoa

Melissa Ou

Laura-Leigh Palmer

Simin Parvaz

Dora Patin

Robert Pearlman

Terry Pellmar

Sandra Pérez-Ramos

Yik Chek Phan

Ann Pielert

Deborah Pollack

Judith Prevo

Maria Quezada

Pauline Rakis

Nancy Randa

Ting RaoSharon Reinckens

Cindy Renteria

Amy Rice

Teresa Rizzo

Faye Ross

My-Linh Rouil

Myra Ryan

Raya Salman

Eve D. Sandmeyer

Alden Schofield

Michael Schoppman

Sandra Schraibman

Martina Sestakova

Lian Sever

Ruja Shemer

Diane Shipley

Sanford H. Shudnow

Patrick Sieg

Teresa Sites

David Sommers

Pritha Srinivasan

Carol Starr

Julie Steinberg

Emily Strulson

Jeanne Sullivan

Vicky Surles

Eleanor Tanno

Antonia Tiu

Alexandra Treadaway-Hoare

Tena Turner

Kathleen Tynan

Andrea van den Heever

Mary Vinograd

Twila Waddy

Anastasia Walsh

Christina Webber

John Weber

Jenny Wilson

Helen Wood

Ellen Yahuda

Rosemary Yue

Lis Zadravec

Paula Zeller

Vicky Zhou

Michelle Zugrav



Enclosure
183. Source: Daily Campello Art News
Item: Empirical evidence for Murphy's Law
Date: 15 September 2022, 2:00 am

I live in a cul-de-sac in the Marylandian suburbs of Washington, DC.  In order to drive from my house to the main street in the area, I have to drive three quarters of a mile and take three right turns in my neighborhood's streets.

The neighborhood itself is made up of single family homes - each one with its own driveway and two-car garage.  Assuming that most people have their garage full of junk, there's ample space in their driveways for two cars to park and be off the street.

One of the planet's smartest minds is Malcolm Gladwell, who has eloquently discussed the 10,000 hour rule for becoming an expert at anything. He discussed this in his amazing book “Outliers.” As Gladwell tells it, the rule goes like this: 

It takes 10,000 hours of intensive practice to achieve mastery of complex skills and materials.

I've somewhat adapted the rule to gather 10,000 points of data for an interesting experiment.  Here how it started.

I moved into this house in 2009.  Soon afterwards I started to notice an interesting and baffling series of curious events whenever I drove away from my house towards any destination (or the return trip) - for the first 3/4 of a mile they're nearly always the same. Or when I enter the same entry point (from the main street towards my house) and drive home. In other words, a round trip.

The streets leading to the neighborhood exit are mostly clear of parked cars, as nearly every house parks in their own driveways.  Households with more that two cars do often park on the street, as do visitors, etc.  Whenever a vehicle is parked on the neighborhood streets, it essentially blocks that side of the street, forcing any traffic on that side of the street to have to use the oncoming/other side of the street to continue on.

The neighborhood also has a lot of "regular" street walkers (not hookers), dog walkers, and runners, and car traffic is generally very light.

Vehicular traffic is generally very light in the neighborhood - usually only the people who live there, delivery vehicles, visitors, and garbage and/or recycling trucks.

A few months after we moved in, I noticed that there seemed to be a higher incidence of the following scenario... that one would expect statistically.

The scenario is that the incidence of two oncoming vehicles "meeting" at the spot where one side of the road is blocked by a parked car appeared to be weirdly tilted towards a Murphian dictate of events.  

Add to that the odds of the random dog walker, stroller or runner, a parked car and two oncoming vehicles meeting at precisely the worst spot on the streets from my house to the neighborhood exit, and my curiosity was kindled.

And thus, I started to keep a log in my car - using a calendar book - to record these instances of two cars, driving towards each other, meeting at the narrowest space created by a third car parked on the street.

A few days ago, my 10 thousandth drive took place - about 12 years or so of trips, usually at random times of the day or night, and 12 yearly calendars full of data.

Of those 10,000 data points the following was recorded:

  • No oncoming traffic was met whenever a parked car blocked one side of the road 4,611 times
  • An oncoming car was met at the blocked spot (forcing one car to stop and wait for the other car to pass) 5, 389 times
  • Of that 5, 389 times, 2, 673 times, not only where there two cars meeting at the "blocked" spot, but there were also either walkers, runners or dog walkers in the same narrow area - thus making driving maneuvers even more complicated.

54% of the time that I drove from/to my home I came across an oncoming vehicle at precisely the one spot (in an otherwise generally open street) where there was a third car blocking one side of the road!

Under what statistical scenario does that make sense when there are .75 of a mile of streets which are 98% empty of parked cars (on the street)?

Murphy!!!!!!! 



Enclosure
184. Source: Daily Campello Art News
Item: Wayson Jones Artist Talk
Date: 13 September 2022, 1:30 am

Montgomery College’s Visual and Performing Arts Department presents Artist in Resident Wayson Jones Artist Talk on Wednesday, September 28th, 2022, at 1 PM. 

The Montgomery College Visual and Performing Arts Department of the Takoma Park/Silver Spring Campus presents the first artist talk of Fall Semester 2022 featuring artist in residence Wayson Jones. He is a painter, musician, and spoken-word artist. A virtual artist talk will be given at 1pm on Wednesday, September 28th, 2022.  This event will be held via ZOOM webinar. A workshop with the artist will be held on November 1, 2022, at 1:10 pm in room # CF 218 at the Morris and Gwendolyn Cafritz Foundation Arts Center, 930 King Street, Silver Spring, MD 20910. Both events are free and open to the public. Please go to www.montgomerycollege.edu/artsinstitute to register for the artist talk.  

About the Artist 

Wayson R. Jones is a painter, musician, and spoken-word artist. He received a degree in music from University of Maryland and later went on to perform with renowned poet Essex Hemphill, as part of Washington DC’s burgeoning Black LGBT arts scene of the 1980s and ‘90s. His visual art is informed by these experiences and by an exuberant approach to materiality and process. Wayson has had solo shows at BlackRock Center for the Arts, Arts/Harmony Hall, and the Northern Virginia Community College Margaret W. and Joseph L. Fisher Gallery and he is the recipient of a 2017 Individual Artist Fellowship from the Prince George’s Arts and Humanities Council. His work has been purchased by the DC Commission on the Arts and Humanities, the Maryland/National Capitol Park and Planning Commission, MGM National Harbor, and The Hotel at the University of Maryland, and is in private collections in the DC area and nationally.  

Enclosure
185. Source: Daily Campello Art News
Item: The 2022 Trawick Prize winners are...
Date: 8 September 2022, 12:46 pm

The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, announced the 2022 prize winners during last night’s awards reception. 

WonJung Choi and Carol Trawick
WonJung Choi and Carol Trawick

WonJung Choi of Richmond, VA was awarded the prestigious “Best in Show” title and received the $10,000 top prize. Caryn Martin from Baltimore, MD was named second place and given $2,000; Robert Martin from Staunton, VA was bestowed third place and received $1,000; and Evie Metz from Henrico, VA was awarded the Young Artist Award and received $1,000.

WonJung Choi, was born and raised in Seoul, Korea. Her series of sculptures, paintings, drawings, and installation explores the power of her every changing identity in the making. She’s studied the process of mutation and evolution undertaken by diverse organisms to adapt to their current surroundings reflecting her hybrid identity through the continuous interactions between herself, contemporary culture and society. Choi received her Master of Fine Arts from the School of Visual Arts in New York and her Bachelor of Arts and Master of Fine Arts in Sculpture from Hong-Ik University in Seoul, Korea. She has exhibited her work nationally and internationally, and has been awarded residencies at the Museum of Arts and Design and Artists Alliance Inc. (AAI) in New York as well as a fellowship at Vermont Studio Center.

2022 Trawick Prize Finalists

MK Bailey, Washington, D.C.

WonJung Choi, Richmond, VA

Marcia Haffmans, Richmond, VA

Ali Kaeini, Richmond, VA

Caryn Martin, Baltimore, MD

Robert Mertens, Staunton, VA

Evie Metz, Henrico, VA

Judith Pratt, Orange, VA

Entries were juried by Alexis Assam, Regenia A. Perry, Assistant Curator of Global Contemporary Art at The Virginia Museum of Fine Arts (VFMA); Thomas James, Visual Arts Curator at Creative Alliance in Baltimore, MD; and Maria del Carmen Montoya, Assistant Professor of Sculpture and Spatial Practices, Director of Graduate Studies, M.F.A. in Fine Arts and Social Practice, Studio Arts Program.

Founded by Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County, MD. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.


 


To date, The Trawick Prize has awarded more than $260,000 in prize monies and has exhibited the work of more than 160 regional artists.


 


The work of the finalists will be on exhibit at Gallery B, 7700 Wisconsin Avenue, Suite E, until October 2. Gallery hours for the duration of the exhibit will be Thursday-Sunday, 12 – 5pm.

Enclosure
186. Source: Daily Campello Art News
Item: The 2022 Paint the Town Award Winners!
Date: 4 September 2022, 10:30 am

It was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages this annual visual art exhibition and competition each year in beautiful Kensington, just outside of the District.

This was a very difficult show to juror - both the open exhibition at the Kensington Armory and the plein air competition which took place yesterday all over this beautiful Maryland town outside nearby Washington, DC.  Below are the award winners selected by me - congratulations to all of them... it was a really difficult competition!

Let me repeat myself: as all great shows are, this was an immensely difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal. The Portrait category in particular was tough to judge as there were so many really outstanding entries. And I was especially surprised by the Kensington category – there was not a single bad entry! As always, I am honored to be able to judge and comment on work of my fellow artists.

Kensington Category

1st Place & Best in Show (Bertha Clum Award): Historia Est Magistra Vitae by Dora Patin

Historia Est Magistra Vitae by Dora Patin
Historia Est Magistra Vitae by Dora Patin

2nd Place: The Hard Work by Paula Zeller

3rd Place: Early Morning on the MARC by Barbara Mandel

Honorable Mentions: Light Remains by Virginia Browning; At the Station by Susan Fitch Brown; Cedar Lane, 3 am by David Sommers

Landscape Category

1st Place: Golden Cloud by Sarah Clayton Davis

Golden Cloud by Sarah Clayton Davis
Golden Cloud by Sarah Clayton Davis

2nd Place: Vaison La Romaine, France by Mary Vinograd

3rd Place: Water Meadows, Woodfield Road by Benita Kane Jaro

Honorable Mentions: Time Out by Margaret Ingram; Winter by Rajendra KC; Isle of Capri by Deborah Pollack; Tempest by Ting Rao; The House Before the Storm by My-Linh Rouil; Nature's Sculpture by Yik Chek Phan

Portrait Category

1st Place: I Will Conquer by Isabella Martire

I Will Conquer by Isabella Martire
I Will Conquer by Isabella Martire

2nd Place: You Are Gone and That Scares Me by Ally Morgan

3rd Place: Summer Morning by Ting Rao

Honorable Mentions: Glow by Jennifer Lynn Beaudet; Gaby Is Musing by Nan Dawkins; Playing the Blues by Karen Merkin; Weathered by Ellen Yahuda; Stock Up Time by Vicky Zhou

Still Life Category

1st Place: Veri Peri Macaron by Jennifer Barlow

Veri Peri Macaron by Jennifer Barlow
Veri Peri Macaron by Jennifer Barlow

2nd Place: A Bear Necessity by Amanda Coelho

3rd Place: Waiting for Wings by Christina Webber

Honorable Mentions: Chatty Onions by Nan Dawkins; Roses Ride by Jack Hammond

Abstract Category

1st Place: Metamorphosis by Sandra Pérez-Ramos

Metamorphosis by Sandra Pérez-Ramos
Metamorphosis by Sandra Pérez-Ramos

2nd Place: Rhapsody of a Hug by Martina Sestakova

3rd Place: Crows by Nancy Randa

Honorable Mentions: Composition 29 by Mari Craig; Coastal Dreams by Rosemary Fallon; Happy Wave by Raya Salman; Exploration by Jenny Wilson

Sculpture Category

1st place: Patchwork of Promise by Peijisan Art

Patchwork of Promise by Peijisan Art
Patchwork of Promise by Peijisan Art

2nd Place: A Mu