.
The original Thanksgiving Proclamation document was penned by William Jackson, secretary to the President, and only signed by George Washington. The declaration was announced in newspapers and then the original was lost, probably on the move of the US capitol from New York to Washington, D.C. The original manuscript returned to its home in the capitol in 1921 when Dr. J. C. Fitzpatrick, of the manuscripts division of the Library of Congress, purchased the proclamation for $300 at auction from an art gallery in New York City. It was the 1st official presidential proclamation issued in the United States of America.
1790s Christian Gullager 1759-1826 George Washington.
Thanksgiving Proclamation
New York, 3 October 1789
By the President of the United States of America, a Proclamation.
Whereas it is the duty of all Nations to acknowledge the providence of Almighty God, to obey his will, to be grateful for his benefits, and humbly to implore his protection and favor-- and whereas both Houses of Congress have by their joint Committee requested me to recommend to the People of the United States a day of public thanksgiving and prayer to be observed by acknowledging with grateful hearts the many signal favors of Almighty God especially by affording them an opportunity peaceably to establish a form of government for their safety and happiness.
Now therefore I do recommend and assign Thursday the 26th day of November next to be devoted by the People of these States to the service of that great and glorious Being, who is the beneficent Author of all the good that was, that is, or that will be-- That we may then all unite in rendering unto him our sincere and humble thanks--for his kind care and protection of the People of this Country previous to their becoming a Nation--for the signal and manifold mercies, and the favorable interpositions of his Providence which we experienced in the course and conclusion of the late war--for the great degree of tranquility, union, and plenty, which we have since enjoyed--for the peaceable and rational manner, in which we have been enabled to establish constitutions of government for our safety and happiness, and particularly the national One now lately instituted--for the civil and religious liberty with which we are blessed; and the means we have of acquiring and diffusing useful knowledge; and in general for all the great and various favors which he hath been pleased to confer upon us.
and also that we may then unite in most humbly offering our prayers and supplications to the great Lord and Ruler of Nations and beseech him to pardon our national and other transgressions-- to enable us all, whether in public or private stations, to perform our several and relative duties properly and punctually--to render our national government a blessing to all the people, by constantly being a Government of wise, just, and constitutional laws, discreetly and faithfully executed and obeyed--to protect and guide all Sovereigns and Nations (especially such as have shewn kindness unto us) and to bless them with good government, peace, and concord--To promote the knowledge and practice of true religion and virtue, and the encrease of science among them and us--and generally to grant unto all Mankind such a degree of temporal prosperity as he alone knows to be best.
Given under my hand at the City of New York the third day of October in the year of our Lord 1789. Go: Washington
Georges Louis Leclerc, comte de Buffon, Histoire naturelle générale et particulière (Oiseaux), 1799-1808
.
Kamis, 25 November 2010
Kamis, 04 November 2010
East City Art has Moved!
Please change your bookmarks and refresh your browser. East City Art is now at its permanent home:
The ECA team will continue to bring you the best coverage of the visual arts scene in Eastern DC in a new web-zine format that will include an artist directory, a restaurant guide and a classified section. Look for exciting ECA sponsored events and art openings in 2011
East City Art has Moved!
Please change your bookmarks and refresh your browser. East City Art is now at its permanent home:
The ECA team will continue to bring you the best coverage of the visual arts scene in Eastern DC in a new web-zine format that will include an artist directory, a restaurant guide and a classified section. Look for exciting ECA sponsored events and art openings in 2011
Rabu, 03 November 2010
The Capitol Hill Art League Presents an All-Media Exhibit Juried by Gene Weingarten
| OPENINGS |
The all-media show of original artwork continues through December 8, 2010.
Opening Reception: Saturday, November 6 from 5pm to 7pm
"Walking Down the Street" mixed media on canvas, Valentine Szybo. Photo Courtesy Capitol Hill Art League |
The Capitol Hill Art League (CHAL), a program of the Capitol Hill Arts Workshop (CHAW), presents an all-media juried exhibit opening on Saturday, November 6, 2010, from 5:00-7:00 p.m. at CHAW, 545 7th Street SE. The juror for the exhibit is Gene Weingarten, a two-time Pulitzer Prize-winning journalist and columnist for the Washington Post Magazine who is also a Capitol Hill community member. Weingarten will speak at the opening reception. Admission to the opening and exhibit is free.
The all-media show of original artwork continues through December 8, 2010.
The Capitol Hill Arts Workshop is located at 545 7th Street, SE two blocks from Eastern Market Metro on the Blue & Orange Lines. For more information call 202.547.6839 or visit their website at www.chaw.org Gallery hours are: 9:30AM-9:00 PM (M-Th), 9:30AM-6:00 PM (F), and 9:00AM-2:00 PM (Sat).
The Capitol Hill Art League Presents an All-Media Exhibit Juried by Gene Weingarten
| OPENINGS |
The all-media show of original artwork continues through December 8, 2010.
Opening Reception: Saturday, November 6 from 5pm to 7pm
"Walking Down the Street" mixed media on canvas, Valentine Szybo. Photo Courtesy Capitol Hill Art League |
The Capitol Hill Art League (CHAL), a program of the Capitol Hill Arts Workshop (CHAW), presents an all-media juried exhibit opening on Saturday, November 6, 2010, from 5:00-7:00 p.m. at CHAW, 545 7th Street SE. The juror for the exhibit is Gene Weingarten, a two-time Pulitzer Prize-winning journalist and columnist for the Washington Post Magazine who is also a Capitol Hill community member. Weingarten will speak at the opening reception. Admission to the opening and exhibit is free.
The all-media show of original artwork continues through December 8, 2010.
The Capitol Hill Arts Workshop is located at 545 7th Street, SE two blocks from Eastern Market Metro on the Blue & Orange Lines. For more information call 202.547.6839 or visit their website at www.chaw.org Gallery hours are: 9:30AM-9:00 PM (M-Th), 9:30AM-6:00 PM (F), and 9:00AM-2:00 PM (Sat).
Industry Gallery Hosts "din-din" - An Exhibition of New Work by Jerry Mischak
| OPENINGS |
Opening Reception: November 6 from 6pm to 8pm
Studio view with elements for dinner table/such a night © Jerry Mischak, courtesy Industry Gallery |
Industry Gallery will host din-din, an exhibition of new work by Jerry Mischak, opening November 6, 2010, 6-8 PM, and running through December 18, 2010. Mischak, a senior critic at the Rhode Island School of Design, visiting professor at Brown University and instructor at the University of Rhode Island, will exhibit one large-scale installation and twelve chairs, all unique prototypes. The installation piece dinner table/such a night is a 36-foot long table with 40 plates, 80 pieces of flat ware, 45 glasses, 25 empty wine bottles, and 100 empty water bottles, all wrapped in more than 3000 yards of orange vinyl tape. The exhibition's 12 chairs are found objects reconstructed via sanding, cutting with the addition of plastic, Styrofoam and wood, and all encased in colored vinyl tape.
Mischak uses tape as a unifying element, or as he says, "a skin that covers a number of objects into a common form." The tape appeals both for its color and as a bonding material. He rarely ever works with sketches and never with a computer. His works are developed through trial and error and a sculptural process of adding and subtracting. Mischak says each piece "develops in real time and real space" and explains that with the chairs he is reinventing and redefining how each function with the body, likening the result to cover versions of well-known songs created by jazz musicians.
Speaking of the exhibition, Mischak said dinner table/such a night "evokes the remnants and memories of a grand dinner. Who was there? Who did you sit next to? What were the conversations? What was the food like? Did it get out of hand? Did you say the wrong things? Did you move ahead with your career? The chairs are separate thoughts from the enormous table, although as chairs they can relate."
About the Artis
Mischak grew up in Newark, New Jersey, in a house that he says had his first two studios - the dining room and front porch his mother converted into a beauty parlor, and a dirt floor basement where he built monsters and made movies with an 8mm Bell and Howell camera. These were the places he could be alone and creative. "I once made a figure out of wood wrapped it with strips of white cloth, put it in a metal box and buried it in the back yard. It was after to my first viewing of The Mummy with Boris Karloff, my mom got worried she thought I was getting a little crazy. It was a time and world of fantasies, and performance while building the objects that helped create these stories."
"I feel that my work comes out of those early exploits and the industrial urban sections of Jersey where I would travel as a kid and later as a teen. Where the bridges embrace the port and the factory buildings."
Mischak cites an affinity for the work of Jorge Pardo, Ernesto Neto and Franz West for "their ability and vision to cross lines of sculpture, architecture and design." He also admires the work of Tejo Remy & René Veenhuizen, saying "to me they are always on the edge, their concepts are genuine, clear and sometimes humorous."
Mischak received his BFA from Rhode Island School of Design and MFA from the University of Wisconsin-Madison. He has exhibited his work at the Palmer Museum, Penn State University; Cypress College Art Gallery, Cypress, CA; Islip Art Museum; Lehman College Art Gallery, NY; Pavel Zoubok Gallery, NY; Jim Kempner Fine Art, New York; the Boston Center for the Arts; and, Diverse Works Gallery, Houston. Mischak is also a recipient of the Howard Foundation Fellowship and Rhode Island State Council of the Arts Fellowship.
Mischak uses tape as a unifying element, or as he says, "a skin that covers a number of objects into a common form." The tape appeals both for its color and as a bonding material. He rarely ever works with sketches and never with a computer. His works are developed through trial and error and a sculptural process of adding and subtracting. Mischak says each piece "develops in real time and real space" and explains that with the chairs he is reinventing and redefining how each function with the body, likening the result to cover versions of well-known songs created by jazz musicians.
Speaking of the exhibition, Mischak said dinner table/such a night "evokes the remnants and memories of a grand dinner. Who was there? Who did you sit next to? What were the conversations? What was the food like? Did it get out of hand? Did you say the wrong things? Did you move ahead with your career? The chairs are separate thoughts from the enormous table, although as chairs they can relate."
About the Artis
Mischak grew up in Newark, New Jersey, in a house that he says had his first two studios - the dining room and front porch his mother converted into a beauty parlor, and a dirt floor basement where he built monsters and made movies with an 8mm Bell and Howell camera. These were the places he could be alone and creative. "I once made a figure out of wood wrapped it with strips of white cloth, put it in a metal box and buried it in the back yard. It was after to my first viewing of The Mummy with Boris Karloff, my mom got worried she thought I was getting a little crazy. It was a time and world of fantasies, and performance while building the objects that helped create these stories."
"I feel that my work comes out of those early exploits and the industrial urban sections of Jersey where I would travel as a kid and later as a teen. Where the bridges embrace the port and the factory buildings."
Mischak cites an affinity for the work of Jorge Pardo, Ernesto Neto and Franz West for "their ability and vision to cross lines of sculpture, architecture and design." He also admires the work of Tejo Remy & René Veenhuizen, saying "to me they are always on the edge, their concepts are genuine, clear and sometimes humorous."
Mischak received his BFA from Rhode Island School of Design and MFA from the University of Wisconsin-Madison. He has exhibited his work at the Palmer Museum, Penn State University; Cypress College Art Gallery, Cypress, CA; Islip Art Museum; Lehman College Art Gallery, NY; Pavel Zoubok Gallery, NY; Jim Kempner Fine Art, New York; the Boston Center for the Arts; and, Diverse Works Gallery, Houston. Mischak is also a recipient of the Howard Foundation Fellowship and Rhode Island State Council of the Arts Fellowship.
Industry Gallery www.industrygallerydc.com is located at 1358 Florida Ave., NE, 2d Floor, Washington DC 20002, info@industrygallerydc.com (202) 399 1730. The gallery is open Wednesday - Saturday, 11AM - 5PM, and by appointment.
Industry Gallery Hosts "din-din" - An Exhibition of New Work by Jerry Mischak
| OPENINGS |
Opening Reception: November 6 from 6pm to 8pm
Studio view with elements for dinner table/such a night © Jerry Mischak, courtesy Industry Gallery |
Industry Gallery will host din-din, an exhibition of new work by Jerry Mischak, opening November 6, 2010, 6-8 PM, and running through December 18, 2010. Mischak, a senior critic at the Rhode Island School of Design, visiting professor at Brown University and instructor at the University of Rhode Island, will exhibit one large-scale installation and twelve chairs, all unique prototypes. The installation piece dinner table/such a night is a 36-foot long table with 40 plates, 80 pieces of flat ware, 45 glasses, 25 empty wine bottles, and 100 empty water bottles, all wrapped in more than 3000 yards of orange vinyl tape. The exhibition's 12 chairs are found objects reconstructed via sanding, cutting with the addition of plastic, Styrofoam and wood, and all encased in colored vinyl tape.
Mischak uses tape as a unifying element, or as he says, "a skin that covers a number of objects into a common form." The tape appeals both for its color and as a bonding material. He rarely ever works with sketches and never with a computer. His works are developed through trial and error and a sculptural process of adding and subtracting. Mischak says each piece "develops in real time and real space" and explains that with the chairs he is reinventing and redefining how each function with the body, likening the result to cover versions of well-known songs created by jazz musicians.
Speaking of the exhibition, Mischak said dinner table/such a night "evokes the remnants and memories of a grand dinner. Who was there? Who did you sit next to? What were the conversations? What was the food like? Did it get out of hand? Did you say the wrong things? Did you move ahead with your career? The chairs are separate thoughts from the enormous table, although as chairs they can relate."
About the Artis
Mischak grew up in Newark, New Jersey, in a house that he says had his first two studios - the dining room and front porch his mother converted into a beauty parlor, and a dirt floor basement where he built monsters and made movies with an 8mm Bell and Howell camera. These were the places he could be alone and creative. "I once made a figure out of wood wrapped it with strips of white cloth, put it in a metal box and buried it in the back yard. It was after to my first viewing of The Mummy with Boris Karloff, my mom got worried she thought I was getting a little crazy. It was a time and world of fantasies, and performance while building the objects that helped create these stories."
"I feel that my work comes out of those early exploits and the industrial urban sections of Jersey where I would travel as a kid and later as a teen. Where the bridges embrace the port and the factory buildings."
Mischak cites an affinity for the work of Jorge Pardo, Ernesto Neto and Franz West for "their ability and vision to cross lines of sculpture, architecture and design." He also admires the work of Tejo Remy & René Veenhuizen, saying "to me they are always on the edge, their concepts are genuine, clear and sometimes humorous."
Mischak received his BFA from Rhode Island School of Design and MFA from the University of Wisconsin-Madison. He has exhibited his work at the Palmer Museum, Penn State University; Cypress College Art Gallery, Cypress, CA; Islip Art Museum; Lehman College Art Gallery, NY; Pavel Zoubok Gallery, NY; Jim Kempner Fine Art, New York; the Boston Center for the Arts; and, Diverse Works Gallery, Houston. Mischak is also a recipient of the Howard Foundation Fellowship and Rhode Island State Council of the Arts Fellowship.
Mischak uses tape as a unifying element, or as he says, "a skin that covers a number of objects into a common form." The tape appeals both for its color and as a bonding material. He rarely ever works with sketches and never with a computer. His works are developed through trial and error and a sculptural process of adding and subtracting. Mischak says each piece "develops in real time and real space" and explains that with the chairs he is reinventing and redefining how each function with the body, likening the result to cover versions of well-known songs created by jazz musicians.
Speaking of the exhibition, Mischak said dinner table/such a night "evokes the remnants and memories of a grand dinner. Who was there? Who did you sit next to? What were the conversations? What was the food like? Did it get out of hand? Did you say the wrong things? Did you move ahead with your career? The chairs are separate thoughts from the enormous table, although as chairs they can relate."
About the Artis
Mischak grew up in Newark, New Jersey, in a house that he says had his first two studios - the dining room and front porch his mother converted into a beauty parlor, and a dirt floor basement where he built monsters and made movies with an 8mm Bell and Howell camera. These were the places he could be alone and creative. "I once made a figure out of wood wrapped it with strips of white cloth, put it in a metal box and buried it in the back yard. It was after to my first viewing of The Mummy with Boris Karloff, my mom got worried she thought I was getting a little crazy. It was a time and world of fantasies, and performance while building the objects that helped create these stories."
"I feel that my work comes out of those early exploits and the industrial urban sections of Jersey where I would travel as a kid and later as a teen. Where the bridges embrace the port and the factory buildings."
Mischak cites an affinity for the work of Jorge Pardo, Ernesto Neto and Franz West for "their ability and vision to cross lines of sculpture, architecture and design." He also admires the work of Tejo Remy & René Veenhuizen, saying "to me they are always on the edge, their concepts are genuine, clear and sometimes humorous."
Mischak received his BFA from Rhode Island School of Design and MFA from the University of Wisconsin-Madison. He has exhibited his work at the Palmer Museum, Penn State University; Cypress College Art Gallery, Cypress, CA; Islip Art Museum; Lehman College Art Gallery, NY; Pavel Zoubok Gallery, NY; Jim Kempner Fine Art, New York; the Boston Center for the Arts; and, Diverse Works Gallery, Houston. Mischak is also a recipient of the Howard Foundation Fellowship and Rhode Island State Council of the Arts Fellowship.
Industry Gallery www.industrygallerydc.com is located at 1358 Florida Ave., NE, 2d Floor, Washington DC 20002, info@industrygallerydc.com (202) 399 1730. The gallery is open Wednesday - Saturday, 11AM - 5PM, and by appointment.
Selasa, 02 November 2010
Anacostia Fotoweek November 6 - 13
| OPENINGS |
Reception: November 10th from 6pm to 8pm:
Extended FOTOWEEK DC Hours are as follows:
Honfleur Gallery and The Gallery at Vivid Solutions
11/6 11am-8pm
11/7 and 11/8 12pm-5pm
11/9 12pm-8pm,
11/10 and 11/11 12pm-9pm
11/12 12pm-8pm
11/13 11-5pm
Blank Space SE
10am - 6pm
Big Chair Coffee & Grill
7am - 8pm
Reception, November 6th starting at 7pm:
Stop by Anacostia's newest creative space, Blank Space SE, to check out American Poetry Museum's presentation O R G A N I C A: Photographic Series by Melani N. Douglass & Rachel Eliza Griffiths.
Vivid Solutions DC Print Lab is displaying Mixed Up: A Photography Showcase (a selection of client images printed by the Vivid Solutions DC Print Lab) at Big Chair Coffee & Grill. This group exhibit showcases select photographs from some of the clientele who have helped make the first year of business a great success.
Reception: November 10th from 6pm to 8pm:
In his solo exhibition Neither...Nor, Vietnamese born artist Khanh H. Le is presenting 14 large scale images using the multiple plate polymer photogravure etching technique at The Gallery at Vivid Solutions. Le examines identity, through the bits and pieces of personal memory, the collective history from two cultures; Vietnam and the US.
Starting promptly at 8:15pm is a free performance from the contemporary classical group, The Analog Arts Ensemble. The group will be performing works by Roussel and Francaix, as well as a world premier by Dolf Kämper.
Starting promptly at 8:15pm is a free performance from the contemporary classical group, The Analog Arts Ensemble. The group will be performing works by Roussel and Francaix, as well as a world premier by Dolf Kämper.
Reception, November 11th starting at 6pm:
Honfleur Gallery is hosting "Likeness", the brainchild of DC based photographer, Joshua Yospyn. The exhibition includes twenty artists: ten photographers and ten street artists with an end result of ten original portraits and ten interpretations of that portrait.
Photographers and artists include:
Bo Zhang, Chris Usher, David Holloway, Erica Allen, Jason Horowitz, Josh Yospyn, Lois Bielefeld, Joshua Cogan, Matt Dunn, & Michel Frankfurter. Diabetik, Brandon Hill, Decoy, Asad Walker, Matthew Shlian, Lance Wiggs & Buck, Heather Stevens, Earnest Concepcion, Mike Estabrook, and Peter Chang.
Upstairs at Honfleur Gallery is a solo exhibit by Charlotte L'Harmeroult who is a painter and video artist based in Paris, France. Her experimental, energetic video and photography projects use humor and colorful, surreal narratives.
Photographers and artists include:
Bo Zhang, Chris Usher, David Holloway, Erica Allen, Jason Horowitz, Josh Yospyn, Lois Bielefeld, Joshua Cogan, Matt Dunn, & Michel Frankfurter. Diabetik, Brandon Hill, Decoy, Asad Walker, Matthew Shlian, Lance Wiggs & Buck, Heather Stevens, Earnest Concepcion, Mike Estabrook, and Peter Chang.
Upstairs at Honfleur Gallery is a solo exhibit by Charlotte L'Harmeroult who is a painter and video artist based in Paris, France. Her experimental, energetic video and photography projects use humor and colorful, surreal narratives.
Extended FOTOWEEK DC Hours are as follows:
Honfleur Gallery and The Gallery at Vivid Solutions
11/6 11am-8pm
11/7 and 11/8 12pm-5pm
11/9 12pm-8pm,
11/10 and 11/11 12pm-9pm
11/12 12pm-8pm
11/13 11-5pm
Blank Space SE
10am - 6pm
Big Chair Coffee & Grill
7am - 8pm
Anacostia Fotoweek November 6 - 13
| OPENINGS |
Reception: November 10th from 6pm to 8pm:
Extended FOTOWEEK DC Hours are as follows:
Honfleur Gallery and The Gallery at Vivid Solutions
11/6 11am-8pm
11/7 and 11/8 12pm-5pm
11/9 12pm-8pm,
11/10 and 11/11 12pm-9pm
11/12 12pm-8pm
11/13 11-5pm
Blank Space SE
10am - 6pm
Big Chair Coffee & Grill
7am - 8pm
Reception, November 6th starting at 7pm:
Stop by Anacostia's newest creative space, Blank Space SE, to check out American Poetry Museum's presentation O R G A N I C A: Photographic Series by Melani N. Douglass & Rachel Eliza Griffiths.
Vivid Solutions DC Print Lab is displaying Mixed Up: A Photography Showcase (a selection of client images printed by the Vivid Solutions DC Print Lab) at Big Chair Coffee & Grill. This group exhibit showcases select photographs from some of the clientele who have helped make the first year of business a great success.
Reception: November 10th from 6pm to 8pm:
In his solo exhibition Neither...Nor, Vietnamese born artist Khanh H. Le is presenting 14 large scale images using the multiple plate polymer photogravure etching technique at The Gallery at Vivid Solutions. Le examines identity, through the bits and pieces of personal memory, the collective history from two cultures; Vietnam and the US.
Starting promptly at 8:15pm is a free performance from the contemporary classical group, The Analog Arts Ensemble. The group will be performing works by Roussel and Francaix, as well as a world premier by Dolf Kämper.
Starting promptly at 8:15pm is a free performance from the contemporary classical group, The Analog Arts Ensemble. The group will be performing works by Roussel and Francaix, as well as a world premier by Dolf Kämper.
Reception, November 11th starting at 6pm:
Honfleur Gallery is hosting "Likeness", the brainchild of DC based photographer, Joshua Yospyn. The exhibition includes twenty artists: ten photographers and ten street artists with an end result of ten original portraits and ten interpretations of that portrait.
Photographers and artists include:
Bo Zhang, Chris Usher, David Holloway, Erica Allen, Jason Horowitz, Josh Yospyn, Lois Bielefeld, Joshua Cogan, Matt Dunn, & Michel Frankfurter. Diabetik, Brandon Hill, Decoy, Asad Walker, Matthew Shlian, Lance Wiggs & Buck, Heather Stevens, Earnest Concepcion, Mike Estabrook, and Peter Chang.
Upstairs at Honfleur Gallery is a solo exhibit by Charlotte L'Harmeroult who is a painter and video artist based in Paris, France. Her experimental, energetic video and photography projects use humor and colorful, surreal narratives.
Photographers and artists include:
Bo Zhang, Chris Usher, David Holloway, Erica Allen, Jason Horowitz, Josh Yospyn, Lois Bielefeld, Joshua Cogan, Matt Dunn, & Michel Frankfurter. Diabetik, Brandon Hill, Decoy, Asad Walker, Matthew Shlian, Lance Wiggs & Buck, Heather Stevens, Earnest Concepcion, Mike Estabrook, and Peter Chang.
Upstairs at Honfleur Gallery is a solo exhibit by Charlotte L'Harmeroult who is a painter and video artist based in Paris, France. Her experimental, energetic video and photography projects use humor and colorful, surreal narratives.
Extended FOTOWEEK DC Hours are as follows:
Honfleur Gallery and The Gallery at Vivid Solutions
11/6 11am-8pm
11/7 and 11/8 12pm-5pm
11/9 12pm-8pm,
11/10 and 11/11 12pm-9pm
11/12 12pm-8pm
11/13 11-5pm
Blank Space SE
10am - 6pm
Big Chair Coffee & Grill
7am - 8pm
City Gallery presents Geoff Ault "Running with Scissors"
| OPENINGS |
Opening Reception: Saturday November 6 from 6pm to 9pm
Geoff Ault "Running with Scissors" Photo Courtesy of CITY Gallery |
In Ault’s words:
“As children we are told what not to do. Don’t touch that, it’s hot. Don’t eat that, it’s dirty. Don’t swallow your gum, don’t play with matches. Don’t run with scissors.
Yet we did everything we were told not to do because we wanted to know why the adults didn’t want us to do these things. So we found out what ‘hot’ is, what dirt tastes like, what happened when we swallowed our chewing gum, and the consequences of playing with matches. But somehow we knew the consequences of running with scissors and usually didn’t try that one out.
In the art world, often we are told that we shouldn’t paint with acrylics because oils are better. In photography, we should use film instead of digital cameras. Often artists are admonished that we should stick to the tried and true methods. To a certain point this is true. One must walk before he or she can run. The basics of composition, technique and color are important in creating art in all forms.
Yet we did everything we were told not to do because we wanted to know why the adults didn’t want us to do these things. So we found out what ‘hot’ is, what dirt tastes like, what happened when we swallowed our chewing gum, and the consequences of playing with matches. But somehow we knew the consequences of running with scissors and usually didn’t try that one out.
In the art world, often we are told that we shouldn’t paint with acrylics because oils are better. In photography, we should use film instead of digital cameras. Often artists are admonished that we should stick to the tried and true methods. To a certain point this is true. One must walk before he or she can run. The basics of composition, technique and color are important in creating art in all forms.
At some point the artist must take a creative leap and forget the rules; run with the scissors this time and see what happens. I like to twist the composition, play with color and try out new ways of creating images. It is painting to the extent in that I use brushes, layering and blending. The only difference is that I have a canvas and brush that are electronic, not physical. This allows me to create work that can have various textures, colors that can be subtle or vibrant. It also allows me to alter images to the point that they are unrecognizable from the original image.
Some images begin as film photographs taken with toy cameras that produce blurry, dreamlike images. I scan the negative into the computer and what is usually a black and white image of something rather mundane can become a colorful abstraction. Other images are created from objects placed on a flatbed scanner and digitally manipulated to produce distorted, unrecognizable images. A flower can become a landscape, a piece of slashed matboard becomes a seascape. The possibilities are endless”.
City Gallery is located at 804 H ST NE second floor, Washington, DC 20002. Gallery hours are Fridays and Saturday 1-5pm.
City Gallery presents Geoff Ault "Running with Scissors"
| OPENINGS |
Opening Reception: Saturday November 6 from 6pm to 9pm
Geoff Ault "Running with Scissors" Photo Courtesy of CITY Gallery |
In Ault’s words:
“As children we are told what not to do. Don’t touch that, it’s hot. Don’t eat that, it’s dirty. Don’t swallow your gum, don’t play with matches. Don’t run with scissors.
Yet we did everything we were told not to do because we wanted to know why the adults didn’t want us to do these things. So we found out what ‘hot’ is, what dirt tastes like, what happened when we swallowed our chewing gum, and the consequences of playing with matches. But somehow we knew the consequences of running with scissors and usually didn’t try that one out.
In the art world, often we are told that we shouldn’t paint with acrylics because oils are better. In photography, we should use film instead of digital cameras. Often artists are admonished that we should stick to the tried and true methods. To a certain point this is true. One must walk before he or she can run. The basics of composition, technique and color are important in creating art in all forms.
Yet we did everything we were told not to do because we wanted to know why the adults didn’t want us to do these things. So we found out what ‘hot’ is, what dirt tastes like, what happened when we swallowed our chewing gum, and the consequences of playing with matches. But somehow we knew the consequences of running with scissors and usually didn’t try that one out.
In the art world, often we are told that we shouldn’t paint with acrylics because oils are better. In photography, we should use film instead of digital cameras. Often artists are admonished that we should stick to the tried and true methods. To a certain point this is true. One must walk before he or she can run. The basics of composition, technique and color are important in creating art in all forms.
At some point the artist must take a creative leap and forget the rules; run with the scissors this time and see what happens. I like to twist the composition, play with color and try out new ways of creating images. It is painting to the extent in that I use brushes, layering and blending. The only difference is that I have a canvas and brush that are electronic, not physical. This allows me to create work that can have various textures, colors that can be subtle or vibrant. It also allows me to alter images to the point that they are unrecognizable from the original image.
Some images begin as film photographs taken with toy cameras that produce blurry, dreamlike images. I scan the negative into the computer and what is usually a black and white image of something rather mundane can become a colorful abstraction. Other images are created from objects placed on a flatbed scanner and digitally manipulated to produce distorted, unrecognizable images. A flower can become a landscape, a piece of slashed matboard becomes a seascape. The possibilities are endless”.
City Gallery is located at 804 H ST NE second floor, Washington, DC 20002. Gallery hours are Fridays and Saturday 1-5pm.
Today in History - John Paul Jones Sets To Sea
.
On this day in 1777, the USS Ranger, with a crew of 140 men under the command of John Paul Jones, leaves Portsmouth, New Hampshire, for the naval port at Brest, France, where it will stop before heading toward the Irish Sea to begin raids on British warships. This was the first mission of its kind during the Revolutionary War.
George Bagby Matthews (1857-1943) John Paul Jones
Commander Jones, remembered as one of the most daring and successful naval commanders of the American Revolution, was born in Scotland, on July 6, 1747. He became an apprentice to a merchant at 13 and soon went to sea, traveling first to the West Indies and then to North America as a young man. In Virginia at the onset of the American Revolution, Jones sided with the Patriots and received a commission as a first lieutenant in the Continental Navy on December 7, 1775.
Bookcover from John Paul Jones and the Ranger Edited by Joseph G. Sawtelle
After departing Brest, Jones successfully executed raids on two forts in England's Whitehaven Harbor, despite a disgruntled crew more interested in "gain than honor." Jones then continued to his home territory of Kirkcudbright Bay, Scotland, where he intended to abduct the earl of Selkirk and then exchange him for American sailors held captive by Britain.
Although he did not find the earl at home, Jones' crew was able to steal all his silver, including his wife's teapot, still containing her breakfast tea. From Scotland, Jones sailed across the Irish Sea to Carrickfergus, where the Ranger captured the HMS Drake after delivering fatal wounds to the British ship's captain and lieutenant.
E. Benjamin Andrews, History of the United States from the Earliest Discovery of American to the Present Day, Volume II (New York Charles Scribner's Sons, 1895)
In September 1779, Jones fought one of the fiercest battles in naval history when he led the USS Bonhomme Richard frigate, named for Benjamin Franklin, in an engagement with the 50-gun British warship HMS Serapis. After the Bonhomme Richard was struck, it began taking on water and caught fire. When the British captain of the Serapis ordered Jones to surrender, he famously replied, "I have not yet begun to fight!" A few hours later, the captain and crew of the Serapis admitted defeat and Jones took command of the British ship.
USS Ranger and HMS Drake
One of the greatest naval commanders in history, Jones is remembered as a "Father of the American Navy," along with fellow Revolutionary War hero Commodore John Barry. John Paul Jones is buried in a crypt at the U.S. Naval Academy Chapel in Annapolis, Maryland, where a Marine honor guard stands at attention whenever the crypt is open to the public.
.
On this day in 1777, the USS Ranger, with a crew of 140 men under the command of John Paul Jones, leaves Portsmouth, New Hampshire, for the naval port at Brest, France, where it will stop before heading toward the Irish Sea to begin raids on British warships. This was the first mission of its kind during the Revolutionary War.
George Bagby Matthews (1857-1943) John Paul Jones
Commander Jones, remembered as one of the most daring and successful naval commanders of the American Revolution, was born in Scotland, on July 6, 1747. He became an apprentice to a merchant at 13 and soon went to sea, traveling first to the West Indies and then to North America as a young man. In Virginia at the onset of the American Revolution, Jones sided with the Patriots and received a commission as a first lieutenant in the Continental Navy on December 7, 1775.
Bookcover from John Paul Jones and the Ranger Edited by Joseph G. Sawtelle
After departing Brest, Jones successfully executed raids on two forts in England's Whitehaven Harbor, despite a disgruntled crew more interested in "gain than honor." Jones then continued to his home territory of Kirkcudbright Bay, Scotland, where he intended to abduct the earl of Selkirk and then exchange him for American sailors held captive by Britain.
Although he did not find the earl at home, Jones' crew was able to steal all his silver, including his wife's teapot, still containing her breakfast tea. From Scotland, Jones sailed across the Irish Sea to Carrickfergus, where the Ranger captured the HMS Drake after delivering fatal wounds to the British ship's captain and lieutenant.
E. Benjamin Andrews, History of the United States from the Earliest Discovery of American to the Present Day, Volume II (New York Charles Scribner's Sons, 1895)
In September 1779, Jones fought one of the fiercest battles in naval history when he led the USS Bonhomme Richard frigate, named for Benjamin Franklin, in an engagement with the 50-gun British warship HMS Serapis. After the Bonhomme Richard was struck, it began taking on water and caught fire. When the British captain of the Serapis ordered Jones to surrender, he famously replied, "I have not yet begun to fight!" A few hours later, the captain and crew of the Serapis admitted defeat and Jones took command of the British ship.
USS Ranger and HMS Drake
One of the greatest naval commanders in history, Jones is remembered as a "Father of the American Navy," along with fellow Revolutionary War hero Commodore John Barry. John Paul Jones is buried in a crypt at the U.S. Naval Academy Chapel in Annapolis, Maryland, where a Marine honor guard stands at attention whenever the crypt is open to the public.
.
Senin, 01 November 2010
All Mixed Up: A Juried Exhibition of Mixed Media Work
| OPENINGS |
Exhibition Dates: November 1 - 27, 2010.
"Dynamic, layered, textured and a little weird." The juror uses these words describe herself as much as the works in All Mixed Up. The words also come together as a surprisingly succinct way to sum up the Zeitgeist of contemporary art. The title "All Mixed Up" proceeds to take on its own layers of meaning. As it traverses from installation to abstraction, provocation to beauty, the show strikes a chord at the heart of what makes contemporary art so exciting.
Co-sponsored by The M-NCPPC Department of Parks & Recreation and the Prince George's County Arts Council, All Mixed Up is also a bold reminder of the role Prince George's County increasingly plays at the forefront of the region's art community. It is nationally prominent and emerging artists. It is raw and refined, traditional as well as edgy, challenging and also affirming.
The Brentwood Arts Exchange at the Gateway Arts Center is located at 3901 Rhode Island Avenue Brentwood, MD 20722. Call the center at 301-277-2863/ tty. 301-446-6802. Hours are Monday through Friday: 10am - 8pm and Saturday: 10am - 6pm.
Opening Reception: Thursday, November 4 from 6:00 to 9:00pm
Featuring the work of Melissa Burley, Nancy Donnelly, Angelina Hein, Tom Hill, Katie Dell Kaufman, Judith Kornett, Allen Linder, Megan Mueller, John Paradiso, Tim Tate, Erwin Timmers, Linda Lee Uphoff and Steven Williams.
Juror: Philippa HughesExhibition Dates: November 1 - 27, 2010.
Hosted at the Brentwood Arts Exchange in the Gateway Arts District for the first time, the 2010 Prince George's County Annual Juried Exhibition, All Mixed Up, is a prominent showcase for artists living, working, and studying in Prince George's County.
"Dynamic, layered, textured and a little weird." The juror uses these words describe herself as much as the works in All Mixed Up. The words also come together as a surprisingly succinct way to sum up the Zeitgeist of contemporary art. The title "All Mixed Up" proceeds to take on its own layers of meaning. As it traverses from installation to abstraction, provocation to beauty, the show strikes a chord at the heart of what makes contemporary art so exciting.
Co-sponsored by The M-NCPPC Department of Parks & Recreation and the Prince George's County Arts Council, All Mixed Up is also a bold reminder of the role Prince George's County increasingly plays at the forefront of the region's art community. It is nationally prominent and emerging artists. It is raw and refined, traditional as well as edgy, challenging and also affirming.
The Brentwood Arts Exchange at the Gateway Arts Center is located at 3901 Rhode Island Avenue Brentwood, MD 20722. Call the center at 301-277-2863/ tty. 301-446-6802. Hours are Monday through Friday: 10am - 8pm and Saturday: 10am - 6pm.
All Mixed Up: A Juried Exhibition of Mixed Media Work
| OPENINGS |
Exhibition Dates: November 1 - 27, 2010.
"Dynamic, layered, textured and a little weird." The juror uses these words describe herself as much as the works in All Mixed Up. The words also come together as a surprisingly succinct way to sum up the Zeitgeist of contemporary art. The title "All Mixed Up" proceeds to take on its own layers of meaning. As it traverses from installation to abstraction, provocation to beauty, the show strikes a chord at the heart of what makes contemporary art so exciting.
Co-sponsored by The M-NCPPC Department of Parks & Recreation and the Prince George's County Arts Council, All Mixed Up is also a bold reminder of the role Prince George's County increasingly plays at the forefront of the region's art community. It is nationally prominent and emerging artists. It is raw and refined, traditional as well as edgy, challenging and also affirming.
The Brentwood Arts Exchange at the Gateway Arts Center is located at 3901 Rhode Island Avenue Brentwood, MD 20722. Call the center at 301-277-2863/ tty. 301-446-6802. Hours are Monday through Friday: 10am - 8pm and Saturday: 10am - 6pm.
Opening Reception: Thursday, November 4 from 6:00 to 9:00pm
Featuring the work of Melissa Burley, Nancy Donnelly, Angelina Hein, Tom Hill, Katie Dell Kaufman, Judith Kornett, Allen Linder, Megan Mueller, John Paradiso, Tim Tate, Erwin Timmers, Linda Lee Uphoff and Steven Williams.
Juror: Philippa HughesExhibition Dates: November 1 - 27, 2010.
Hosted at the Brentwood Arts Exchange in the Gateway Arts District for the first time, the 2010 Prince George's County Annual Juried Exhibition, All Mixed Up, is a prominent showcase for artists living, working, and studying in Prince George's County.
"Dynamic, layered, textured and a little weird." The juror uses these words describe herself as much as the works in All Mixed Up. The words also come together as a surprisingly succinct way to sum up the Zeitgeist of contemporary art. The title "All Mixed Up" proceeds to take on its own layers of meaning. As it traverses from installation to abstraction, provocation to beauty, the show strikes a chord at the heart of what makes contemporary art so exciting.
Co-sponsored by The M-NCPPC Department of Parks & Recreation and the Prince George's County Arts Council, All Mixed Up is also a bold reminder of the role Prince George's County increasingly plays at the forefront of the region's art community. It is nationally prominent and emerging artists. It is raw and refined, traditional as well as edgy, challenging and also affirming.
The Brentwood Arts Exchange at the Gateway Arts Center is located at 3901 Rhode Island Avenue Brentwood, MD 20722. Call the center at 301-277-2863/ tty. 301-446-6802. Hours are Monday through Friday: 10am - 8pm and Saturday: 10am - 6pm.
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