Black Artists of DC

Art In AcTion...illustrating the value of community

2011-11-21T21:04:00.001-08:00

BADC and the DC Arts Center Presents The Blues and Other Colors

2011-11-09T20:16:00.000-08:00

November 18 - January 8
Opening Reception: Friday, November 18, 7 - 9 PM

The Blues and Other Colors assembles photographs and paintings by nine artists in an attempt to visually express and interpret The Blues. A musical form and genre originating in African-American communities at the end of the 19th century, The Blues have permeated jazz, rock and roll as well as multiple other music genres. Yet, the word blue also connotes the primary color perceived from light of wavelength 440–490 nm and may represent happiness, optimism, or, conversely, sadness. The artists in this exhibition interpret the blues as a color, musical form, and emotional state. Work by Cedric Baker, Magruder Murray, Adjoa J. Burrowes, Gloria C. Kirk, Bruce McNeil, Hubert Jackson, J’Nell Jordon, Carolyn Goodridge, and Jarvis Grant will be presented. Curated by Tim Davis.

Tim Davis
Tim Davis is a multi-media artist, gallerist and educator. He holds a Masters in art from the University of Illinois and a Bachelor of fine arts from Eastern Illinois University. He is the owner and Director of International Visions Gallery in Washington DC. He has curated over 25 exhibitions throughout the US including The Black Fine Art show in New York and Atlanta, The DC Convention Center, the DC Mayor's office, The Ethiopian Embassy, and the Embassy of Venezuela. He has exhibited his work widely throughout DC area and the United States.

Black Artists of DC
Black Artists of DC (BADC) is an artist membership organzation founded in 1999. BADC has grown since then to over 400 members, associates and supporters from every discipline who at one time lived, were educated, or worked in the Washington DC metropolitan area. It is composed of artists, arts administrators, educators, dealers, collectors, museum directors, curators, gallery owners and arts enthusiasts. Together members lend artistic skills and insight to the cause of supporting and enlivening the arts. The organizations acts as resources for other artists by encouraging them to explore new techniques and to improve their professional approach to art. BADC compliments the diversity of a cosmopolitan nation’s capitol.

DC Arts Center
2438 18th Street NW
Washington, DC 20009
202.462.7833
www.dcartscenter.org

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: editor@blackartistsofdc.com

Free Frame - Artist call for black and white photography

2011-09-13T06:49:00.000-07:00

Sponsors: Black Artists of DC and National League of American Pen Women

Call for Artists:

Location: Pen Arts Building

1300 Seventeenth Street N.W.
Washington, D.C. 20036

Curator:

Melissa A. Matthews is an artist and arts administrator from Brooklyn, NY. An artist herself, Ms. Matthews earned a degree in painting from Howard University. She serves as curatorial director at More Black Art, an artist’s services organization based in Brooklyn, NY. She has also worked as an arts administrator for several arts organizations and nonprofits including Bedford Stuyvesant Restoration Corporation’s Skylight Gallery and continues to work as a freelance consultant and curator on a number of projects in that area.

Black & White Photography: Original works

Submission Fee: (non-refundable)

BADC Members: (who have paid their annual dues), FREE for up to 4 images

Non-Member: $25 US dollars (includes optional membership)

Open to all current members of BADC. Artists who are not already members may join by

Visiting the BADC web sites: www.badcbridge.com and paying the annual dues.

Dates of Exhibition: October 2, 2011- October 28, 2011

Submission Deadline: September 20, 2011, 11:59 PM (email).

Exhibition Description:

Paying homage to the impact of black photography, its intrinsic value to the African American community as a visual time capsule, historical reference, and artistic expression, Freeze Frameis an exhibition that is rooted in the idea of capturing and re/defining a moment in time.

Inspired by the history of black photography and the manner in which black photographers have effectively defined eras ( i.e. James Van Der Zee’s Couple with a Cadillac, c. 1932) or redefined the iconography of themselves and by extension their communities ( i.e. Jamel Shabazz’s Back in the Day series; Lorna Simpson’s Interior #5), this show challenges photographers to embrace the flexibility of definition—defining a moment, a generation, a style or even redefining a mundane ritual through black and white photography.

The photos highlighted in Freeze Frame represent the sheer beauty in time, the familiarity and diversity of it as captured in one singular moment.

Notification of Selected Artists / Delivery Instructions: Artists will be notified of acceptance or non acceptance no later than September 24, 2011. Notification will be made by email and/or by phone. All art must be hand delivered to Pen Arts Building (do not ship artwork): September 29 2011, 9:00 am to 11:00 am.

Distribution of Invitations: To Be Announced

Opening: Thursday, October 6, 2011, 6pm-9pm
Artist Talk: TBD
Deadline for picking up work: October 30, 2011, 11:00 am-5:00pm

Submission Guidelines:

Artists may submit up to 4 photographs per entry. The required file format for submissions is 300 DPI JPEG images. Each image should be labeled with title_size_media__yr of completion (as seen on submission form). No images larger than 20x24” will be considered. No images smaller than 9x12” will be considered. All entries must include a short bio and artist statement not to exceed 1 typed page.

Submissions are to be made to Melissa Matthews C/O"Freeze Frame" via email to mamltdartconsulting@gmail.com.

Proof of payment of required fees will be verified with the BADC treasurer.

Payment: Entry fee, payable in US dollars can be paid by cash, to the Treasurer in person or by check, or money order. Please make checks or money orders payable to "Black Artists of DC.”

Please send Payment, CD and Submission form to: Black Artists of DC: "Freeze Frame" C/O T.H. Gomillion

3218 Chestnut St. NEWashington, D.C. 20018

Contact Number:

202-269-2757

Email Address: freegomillion@yahoo.com

Terms: Works in the show do not have to be for sale. Works must remain in the venue for the duration of the exhibition.

Sales: Sale price are determined by the artist. BADC will handle all sales and take a 20% commission.

Insurance: BADC provides damage and theft insurance for works in the exhibition through the duration of the exhibition from September 29, 2011 – October 28, 2011.

Frames / Mounting / Artwork: frames and mounting must be exhibition quality (confer with curator if you have any questions) consistent with photographs, with attached wire. If the quality of the submitted artwork does not match the JPEG image it will not be accepted for the exhibition.

**We reserve the right to use submitted images and information for inclusion in the exhibition,catalogs and/or other promotional endeavors to publicize the exhibition.

Submission Form/Image Identification List: Freeze Frame

October 2, 2011 to October 28, 2011, National League of American Pen Women

Artist and Contact Info

Name: _______________________________________________________________________

Address: _____________________________________________________________________

Email Address: ________________________________________________________________

Phone: (Day) ___________________________ Phone: (Evening) _______________________

Last name, first name, title, medium, size, year completed and price (not for sale=NFS)

# (ex: 01. Gomillion , Tom, Sankofa, Digital archival print, 20"x20", 2010, $500)

01. Artist____________________________Title_____________________________________

Medium___________________________________________________________________

Framed Dimensions: Width____ Height____ Depth_____ Year Completed_____ Price____

02. Artist____________________________Title_____________________________________

Medium___________________________________________________________________

Framed Dimensions: Width____ Height____ Depth_____ Year Completed_____ Price____

03. Artist____________________________Title_____________________________________

Medium___________________________________________________________________

Framed Dimensions: Width____ Height____ Depth_____ Year Completed_____ Price____

04. Artist____________________________Title______________________________________

Medium___________________________________________________________________

Framed Dimensions: Width____ Height____ Depth_____ Year Completed_____ Price____

[ ] BADC Member, $30 [ ] Non-member, $45 (or $30 plus $25 membership fee to join BADC)

Fee enclosed $___________ Artist's Signature_______________________________ Date_____

The Blues and Other Colors Prospectus

2011-08-22T21:53:00.000-07:00

Sponsors: Black Artists of DC and District of Columbia Arts Center (DCAC)

Location: District of Columbia Arts Center 2438 18th St. NW Washington DC 20009 www.dcartscenter.org 202-462-7833

Curator: Tim Davis is a multi-media artist, gallerist and educator. He holds a Masters in art from the University of Illinois and a Bachelor of fine arts from Eastern Illinois University. He is the owner and Director of International Visions Gallery in Washington DC. He has curated over 25 exhibitions throughout the US including The Black Fine Art show in New York and Atlanta, The DC Convention Center, the DC Mayor's office, The Ethiopian Embassy, and the Embassy of Venezuela. He has exhibited his work widely throughout DC area and the United States.

Open to-all Media: Original works, completed within the past three years, will be considered.

Submission Fee: (non-refundable) BADC Members: (who have paid their annual dues), $30 US dollars for up to 4 images Non-Member: $45 US dollars for up to 4 images

Dates of Exhibition: Friday, November 18, 2011 – Sunday, January 8, 2012

Submission Deadline: September 10, 2011, 6:00 pm (in hand).

Exhibition Description: The exhibition will focus on how we as artists visually express and

interpret “The Blues”: the name given to both a musical form and a music genre that originated in African-American communities of primarily the Deep South of the United States at the end of the 19th century from spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. The blues form is also found in jazz and rock and roll and other music genres. Blue is a color, the perception of which is evoked by light having a spectrum dominated by energy with a wavelength of roughly 440–490 nm. Blue is considered a primary color on a color wheel based on traditional color theory (RYB). The English language commonly uses "blue" to refer to any color from navy to cyan. Blue can represent happiness and optimism and also represent sadness or feeling sad. Artists are encouraged to research, and interpret the blues: the color, the musical form, and the emotional representation, figuratively and abstractly.

Notification of Selected Artists / Delivery Instructions: Artists will be notified of acceptance or non acceptance no later than Friday, September 16, 2011. Notification will be made by email and/or by phone. All art must be hand delivered to DCAC: Wednesday, November 16, 5:30 pm- 7:00 pm, (do not ship artwork).

Distribution of Invitations: To Be Announced

Public Reception and Opening: Friday, November 18, 2011 7 pm-9 pm Closing: Sunday, January 8, 2012

Deadline for picking up work: Sunday, January 8, 2012 Any artwork not picked up by Sunday, January 8, 2012 will be charged a fee of $20.00 per day.

Submission Guidelines:

Artists may submit up to 4 digital JPEG images, at 300 DPI. For sculptural or three-dimensional pieces, 2 images may be submitted for each work. The images must be submitted on a CD, in JPEG format only. No files larger than 2MB. Image files on the CD should be titled as follows: last name first, first name, title and number corresponding to the Submission Form. The same information must also be written on the Submission Form, including the price. Artwork submitted must be no larger than: 2D and 3D – 30"x40" framed. Please do not send originals. CD's will only be returned if a self-addressed stamped envelope (SASE) with sufficient postage is included. Submit a short bio and artist's statement (1 page total). Also submit a one page selected resume.

Payment: entry fee, payable in US dollars can be paid by cash, to the Treasurer in person or by check or money order. Please make checks or money orders payable to "BADC". Please send Payment, CD, Bio/Artist's Statement, resume and Submission Form to: Black

Artists of DC: "The Blues and Other Colors"

C/O T.H. Gomillion

3218 Chestnut St. NE,

Washington, D.C. 20018

Contact Number: 202-269-2757,

Email Address: freegomillion@yahoo.com

Terms: Works in the exhibition do not have to be for sale. Works must remain in the gallery for the duration of the exhibition.

Sales: Sale price are determined by the artist. DCAC will handle all sales and take a 30% commission.

Insurance: BADC provides damage and theft insurance for works in the exhibition through the duration of the exhibition from Wednesday, November 16, – Sunday, January 8, 2012.

Frames / Mounting / Artwork: frames and mounting must be of fine quality, consistent with painting/photographs, with attached wire. The artist must provide pedestals for sculptures or three-dimensional works. If the quality of the submitted artwork does not match the JPEG image it will not be accepted for the exhibition.

We reserve the right to use submitted images and information for inclusion in the exhibition, catalogs and/or other promotional endeavors to publicize the exhibition.

Delusions of Grandeur: Ascension

2011-07-29T19:44:00.000-07:00

Shaunté Gates

Amber Robles-Gordon

Jamea Richmond-Edwards

Shaunté Gates

In my dreams II. 2011

Amber Robles-Gordon

Peacock. 2011

Jamea Richmond-Edwards Revealation. 2011

Parish Gallery Exhibition: August 19- September12, 2011

Reception: August 19, 2011 6-8pm

WASHINGTON, DC- Parish Gallery, in conjunction with the DC Commission on the Arts and Humanities is pleased to present an exhibition by three artists – Shaunté Gates, Jamea Richmond-Edwards and Amber Robles-Gordon, “Delusions of Grandeur: Ascension”. This show will open with a reception from 6:00-8:00 pm on Friday, August 19th, and will run through September 16th, 2011.

This exhibition is the result of an artistic dialog about the “delusions of grandeur” they each possess in order to continue progressing in their careers and most importantly in their artwork. Ascension, the act of rising to an important position or a higher level, is the theme adapted for this current body of work. Each artist presents their individual interpretation of the act of ascending.

Artists Shaunté Gates work combines multiple processes and genres, by taking appropriations and gestures from pop culture and print media which are combined to create elusive narratives. Gate’s works seduce us into an imaginary world of juxtaposition and fantasy, a place when the contradictions of culture and the human psyche are collided. His mixed media paintings capture the beauty in subjects that may appear bleak to the average eye at first glance. Gates ideas are derived from the pain, joy, and the beautiful way everything universally is connected.

Jamea Richmond-Edwards work explores the contradictions of female and cultural identity and with reference to Greek Mythology, African folklore and international fashion. Richmond- Edwards examine how mythologies from ancient times translate into today’s culture and time allegorically. Her figures are empowered by their survivalist adaptation to circumstance. Their sharp features are inspired by both high fashion models and the everyday women in her community.

Amber Robles-Gordon mixed media artworks draw upon her journey through motherhood, genealogy, healing, and being alive today. They represent her technical and scholarly growth as an artist, and are supported by her professional development in the Washington, DC area. Her two- and three-dimensional pieces it within an expansive notion of painting and sculptural form. She uses stretched canvas to support an accumulation of media in low- or sharp-relief. These assemblages require a close look to interpret their individual parts. Collectively, these parts form a visual energy comprised of the previous “lives” of the objects, their former owners, and the artist’s hand.

Parish Gallery primarily, but not exclusively, represents contemporary visual artists of significance from Africa and the African Diaspora. In selecting art and artists, Parish Gallery exercises high ethical, curatorial and market selection standards, catering to the spirit of social preservation and regeneration in collecting the art. Parish Gallery is open Tuesday thru Saturday from noon to 6:00 PM or by appointment.

Parish Gallery

1054 31 Street NW

Washington, D.C. 20007

www.parishgallery.com

Contact:

Gwen Parish

(202) 944-2310

The Takoma Park Community Presents From a Model to A Rainbow by Sam Gilliam

2011-06-05T15:58:00.000-07:00

Adobe Design Center and TMiller Gallery Production Presents Images of Dignity by Al Burts

2011-06-05T11:10:00.000-07:00

Shaunte Gates Presents PUppETieRs @ The B Spot

2011-06-05T11:03:00.000-07:00

Upcoming Exhibits for Maya Freelon Asante

2011-06-05T10:57:00.001-07:00

Call For Artists: Our Children Exhibition Prospectus

2011-05-03T12:33:00.000-07:00

Our Children Prospectus

Sponsors: Black Artists of DC and Village of Friendship Heights Council

Location: Village of Friendship Heights Center 4433 South Park Ave., Chevy Chase, MD 20815 http://www.friendshipheightsmd.gov/ 301-656-2797

Juried Exhibition / Judges: Millie S. Shott (Artist, Curator) John P. Beckley (Artist)

Edith Buffalow (Gallery Owner)

Curator: T. H. Gomillion is a multi-media artist and educator. He holds a MAT in art from Trinity Washington University and a BS from Winston Salem State University. He has curated exhibitions at the Embassy Of Venezuela, Friendship Heights Art Gallery and exhibited at Howard University, Montpelier art center and the Embassy Of France.

Open to-all Media: Original works, completed within the past three years, will be considered.

Submission Fee: (non-refundable)

BADC Members: (who have paid their annual dues), $30 US dollars for up to 4 images

Non-Member: $45 US dollars

Open to all current members of BADC. Artists who are not already members may join by visiting the BADC web sites: www.badcbridge.com and paying the annual dues.

Dates of Exhibition: Saturday, September 3, 2011 – Sunday October 2, 2011 Submission Deadline: July 15, 2011, 6:00 PM (in hand).

Exhibition Description: the exhibition will focus on how we as artists visually express our children's individualism. Our children are our vessels for tomorrow's promises. They are strong, intelligent, precious, curious and tenacious. Our children laugh, cry, and are vulnerable to fear. For many the love of friends creates powerful memories and inspiration, which guide their life trajectories toward success. They know the wonder of discovery and some have had experiences that have tested their tender sense of resolve and courage. Childhood in today's world can be bittersweet, for far too many of our children are feeling the gnawing pain of hunger and the loss of friends to violence. This exhibition will celebrate childhood from varying perspectives, and through many lenses. This is a praise song, which is offered to our beautifully resilient children.

Notification of Selected Artists / Delivery Instructions: Artists will be notified of acceptance or non acceptance no later than Friday, August 5, 2011. Notification will be made by email and/or by phone. All art must be hand delivery to Friendship Heights Center Gallery (do not ship artwork): Saturday, September 3, 2011, 9:00 am to 11:00 am.Distribution of Invitations: To Be Announced

Opening: Sunday, September 4, 2011, 11:30 am-1:30 pm Public Reception: Sunday, September 10, 2011, 11:30 am-1:30 pm Closing: Saturday, October 1, 2011 Deadline for picking up work: Sunday, October 2, 2011, 11:00 am-1:00pm Any artwork not picked up by Sunday, October 2, 2011 will be charged a fee of $20.00 per day thereafter and pickup will be at Adobe Art Gallery in DC, (Edith Buffalow-202-529-9006).

Submission Guidelines:

Artists may submit up to 4 digital JPEG images, at 300 DPI. For sculptural or three-dimensional pieces, 2 images may be submitted for each work. The images must be submitted on a CD, in JPEG format only. No files larger than 2MB. Image files on the CD should be titled as follows: last name first, first name, title and number corresponding to the Submission Form. The same information must also be written on the Submission Form, including the price. Artwork submitted must be no larger than: 2D and 3D – 30"x40" framed. Please do not send originals. CDs will only be returned if a self-addressed stamped envelope (SASE) with sufficient postage is included. Submit a short bio and artist's statement (1 page total).

C/O T.H. Gomillion 3218 Chestnut St. NE, Washington, D.C. 20018 Contact Number: 202-269-2757, Email Address: freegomillion@yahoo.com

Terms: Works in the show do not have to be for sale. Works must remain in the gallery for the duration of the exhibition.

Sales: Sale price are determined by the artist. Friendship Heights Center will handle all sales and take a 20% commission.

Insurance: BADC provides damage and theft insurance for works in the exhibition through the duration of the exhibition from Saturday, September 3, 2011 – Sunday October 2, 2011.

Frames / Mounting / Artwork: frames and mounting must be of fine quality, consistent with painting/photographs, with attached wire. For sculpture or three-dimensional work, pedestals will be provided by the center. If the quality of the submitted artwork does not match the JPEG image it will not be accepted for the exhibition.

*We reserve the right to use submitted images and information for inclusion in the exhibition, catalogs and/or other promotional endeavors to publicize the exhibition.

Abstraction: The Syncopation of Light, Color and Form

2011-05-03T12:23:00.001-07:00

Exhibition: May 28, 2011 – August 13, 2011
Opening Reception: Saturday, June 11th 2:00 – 6:00 pm
Artists' Talk: Saturday, July, 9th 2:00 – 6:00 pm
Musical Guests: Strings and Things

In, Abstraction: The Syncopation of Light, Color and Form artists assert their creative voices through textured canvases rich

with vibrant hues, and sculptures which free the inherent beauty of the natural stone. Drawing from their intuitions and imaginations,

the artists form rhythmic patterns employing light and color to explore social issues, and the metaphysical and spiritual realm.

Featured Artists: David Carlson, Calvin Coleman, Elsa Gebreyesus, Michael Gross, M. Scott Johnson and Jeffrey Kent

Billy Colbert Artist Talk with Philippa Hughes @ Montserrat Hous

2011-04-27T14:04:00.001-07:00

International Art & Artists, Washington Project for the Arts, Black Artists of DC Member Mixer Friday April 29, 6-8 pm

2011-04-27T13:59:00.000-07:00

Member Mixer with wine, beer and pizza for members of WPA, BADC and Hillyer Art Space this Friday, April 29, 6-8pm

Please RSVP to bmurphy@wpadc.org

in conjunction with the exhibition
Process: Reaffirmation
Curated by Gina Marie Lewis,
Assistant Professor of Art, Bowie State Univ.
at Hillyer Art Space, 9 Hillyer Ct. NW
Friday, April 1 through Friday, April 29, 2011

Featuring work by Anne Bouie, Daniel Brooking, Joel D'Orazio, Victor Ekpuk, Corwin Levi, Barbara Liotta, Adrienne Mills, and Cleve Overton.

Join members of Washington Project for the Arts, Black Artists of DC, and Hillyer Art Space this Friday for a member's mixer, in conjunction with the exhibition Process: Reaffirmation. Enjoy wine, beer and pizza with your fellow artists, while taking advantage of your final chance to see Process: Reaffirmation, a group exhibition featuring work by members of BADC and WPA. The highlight of the evening will be a game of Exquisite Corpse, the classic Surrealist party game.

Enjoy this collaborative art-making game and take home an original work of art!

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofdc.com

Why your membership in Black Artist of DC is important - What is in it for you?

2011-04-16T21:22:00.000-07:00

Workshops

Classes

Studio Visits

Critiques

Business Meetings (a chance for your input

Excursions

Group Exhibitions

Mentoring

Summer Bridge Training Program

Archiving your achievements

Attend lectures with world class artists

Posting on the BADC Blog

Weekly listings of:

Artists' opportunities

Calls for exhibitions

Residencies

Grants

Fellowships

Employment

National and international articles on the arts

Invitation to artist's events

Subscription to Jembe (the annual list of accomplishments)

The opportunity to work with fellow artists who know and understand your struggle

An international community of Supportive artists

The opportunity to gain hands-on experience in art management, public relations, advertising/ web and print, and more

All that and BADC Membership is only $25.00.

Contact T.H. Gomillion
BADC Treasurer @
freegomillion@yahoo.com

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofdc.com

Black Artists of DC 2011 Meeting Schedule

2011-04-16T20:28:00.000-07:00

Welcome to BADC!

Come out and enjoy an afternoon with a caring/sharing arts community.Lots of information, inspiration, good vibes and positive energy. Attending will be artists of many different media, ages, levels of skill and accomplishment.

Bring: Your work, smiles, and something tasty to eat and or drink

Share: Upcoming exhibitions, grant information, fellowship info and more

Become: a vital part of a community of artists committed to each other's development and growth.

Come on out and Catch the Vision!!!!

The Howard University Annex Graduate Sculpture Studio

2467 Sherman NW
Washington DC 20059

4-6 pm

Sun. January 16 Business/Critique
The Howard University Annex

Sun. February 20 Business/Critique
The Howard University Annex

Sun. March 20 Business/Critique
The Howard University Annex

Sun. April 17 Business/Critique
The Howard University Annex

Sun. May 15 Business/Critique

Sun. June 19 Business/Critique
The Howard University Annex

Sun. July 17 Business/Critique
The Howard University Annex

Sun. August 21 Business/Critique
The Howard University Annex

Sun. September 18 Business/Critique
The Howard University Annex

Sun. October 16 Business/Critique
The Howard University Annex

Sun. November 20 Business/Critique

Sun. December 18 Business/Critique
The Howard University Annex

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: editor@blackartistsofdc.org

A Group Exhibition of Recent Works by BADC and WPA Member Artists opens at Hillyer Art Space in Washington, D.C.

2011-04-16T10:37:00.000-07:00

http://www.swedishscene.com/2011/04/a-group-exhibition-of-recent-w.html

Amber Robles-Gordon, president of Black Artists of DC (BADC); David Furchgott, president of International Arts & Artists; and Lisa Gold, executive director of Washington Projects for the Arts

A GROUP EXHIBITION, titled "Process: Reaffirmation," presenting recent works by Black Artists of D.C. (BADC) and Washington Project for the Arts (WPA) member artists opened at Hillyer Art Space on Friday evening, April 1. The exhibition, which is curated by Gina Marie Lewis, focuses on and reaffirms the processes of artists within their studios, honors the personal philosophies, practices, and vocabularies of eight artists and attempts to explore a visual dialogue between their works.

Carol Beane and Gina Marie Lewis, assistant professor of art at Bowie State University

The artists selected for this exhibition include Anne Bouie, Daniel Brookings, Joel D'Orazio, Victor Ekpuk, Corwin Levi, Barbara Liotta, Adrienne Mills, and Cleve Overton.

THE EXHIBITION WILL go through April 29, 2011. Arts & Artists' Hillyer Art Space is located at 9 Hillyer Court, N.W., Washington, D.C. 20008. Tel. 202-338-0680. Gallery hours: Monday 12 noon-5 p.m., Tuesday-Friday 12 noon-6 p.m., Saturday 12 noon-5 p.m., or by appointment. For more information: www.artsandartists.org/hillyer.html. http://www.swedishscene.com/2011/04/a-group-exhibition-of-recent-w.html

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofdc.com

going to paula a film by ellington robinson 4-16- 2011 film screening @ Monserrat House

2011-04-16T10:28:00.000-07:00

Senior Textile Arts Renaissance Society Student

2011-04-16T10:13:00.000-07:00

Vox Velise Billy Colbert at Monteserrat House

2011-04-04T14:00:00.001-07:00

Process: Reaffirmation A Visual Dialogue Between Members of Black Artists of DC and Washington Projects for the Arts

2011-04-04T10:31:00.000-07:00

International Art & Artists, Washington Project for the Arts, and Black Artists of DC present:

Process: Reaffirmation
A visual dialogue between members of BADC and WPA

Curated by Gina Marie Lewis, Assistant Professor of Art, Bowie State Univ.

Exhibition location: Hillyer Art Space,
9 Hillyer Ct. NW, Washington, DC
Exhibition dates:

Friday, April 1 through Saturday, April 29, 2011

Exhibition hours:

Mon. 12-5pm, Tues.-Fri. 12-6pm, Sat. 12-5pm

Opening Reception:

Friday, April 2, 6-9pm

Artists Talk:

Saturday, April 23 at 3:00pm

Featuring work by Anne Bouie, Daniel Brooking, Joel D'Orazio, Victor Ekpuk, Corwin Levi, Barbara Liotta, Adrienne Mills, and Cleve Overton.

Curated by Gina Marie Lewis, Process: Reaffirmation is an exhibition which focuses on and reaffirms the processes of artists within their studios. This exhibition honors the personal philosophies, practices, and vocabularies of eight artists and attempts to explore a visual dialogue between their works.

The exhibition represents an opportunity for artists to retain power over their work in the context of their own philosophies and interpretations. In some cases, the relationships between their works may be obvious, and other instances invite the viewer to inquire and explore the relationships from their own point of view. As a starting point, such aspects as linear relationships, creation of new processes, innovative use of materials, the making of marks, and defining space were most apparent during the curatorial process.

Gina Marie Lewis is a mixed media artist and educator. She holds an MFA in painting from Howard University and a BA in Cultural Studies and Studio Art from Norwich University.

She has curated exhibitions at Montpelier Arts Center and Howard University and has exhibited at the Hampton University Museum in Hampton, VA, Flashpoint Gallery in DC, and The Banneker-Douglass Museum in Annapolis, MD. She is currently teaching at Bowie State University.

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofdc.com

BADC Presents 2011 The Black Exhibition

2011-02-04T13:02:00.000-08:00

Black Artists of DC Presents: Black Abstraction

2011-01-17T14:10:00.001-08:00

Most of the artists featured in Black Abstraction speak of an energy and spirituality that guides their practice as expressed through: the five senses (Brooking), musical forms such as the blues, jazz and R&B (de Vargas and Williams), nature and the changing light patterns of the weather and seasons (Goodridge, Jackson, and White), multi-layering and various textural media, such as sand (Gebreyesus, Jones, and Leak), early African,craft and folk art traditions (Bouie and Varnell), while others have even been influenced by other art styles and movements, including Abstract Expressionism and the Colorists (Vango).

For many black artists, abstraction serves as an alternative way to express political and social ideas, fears, dreams and longings outside of figuration. It is the psyche made visible in swaths of bright and deep hues and textures energetically executed as in gestural abstraction or in the meticulous application of lines and shapes seen in geometric abstraction. Other artists express this creative impetus at times in symbols and letters, some seemingly familiar while others are self-created.
A few notable African American artists who have made seminal contributions to abstract art and Abstract Expressionism idioms include DC-based artist Sam Gilliam, Norman Lewis, Alma Thomas, Felrath Hines, Al Loving, Moe Brooker, Stephanie Pogue and Charles Searles.

In his essay “Blindness, Abstraction and ‘Double Consciousness’: the Critical Imaginary and the Sources of Modern Art,” CUNY professor and author Dr. Geoffrey Jacques summed up the relationship between African-American visual culture and abstract art as: “abstraction entered modern (so-called Western) culture in large part as an African or black thing, and is in fact, a ‘black’ tradition.” Increasing the understanding of this often misunderstood aesthetic and exposure of these art-makers is the primary focus of this current exhibition.

Jarvis DuBois CURATOR

The purpose of “Black Artists of DC” (BADC) is to create a Black artists community to promote, develop and validate the culture, artistic expressions and aspirations of past and present artists of Black-Afrikan ancestry in the Washington, DC metropolitan area. Some of the goals of “Black Artists of DC” are to: produce, exhibit, document, continue and conserve our artistic legacy; create a cooperative trans-generational training ground for artists; create an advocacy for Black artists through community and political activity; and create and support a market for the art created by people of African descent.

The exhibition, Black Abstraction, in cooperation with The Maryland-National Capital Park and Planning Commission and Arts/Harmony Hall Regional Center, is sponsored and organized by the Black Artists of DC and highlights the work of 12 contemporary abstract artists who continue to explore and individualize this artistic style. These artists include: Anne Bouie, Daniel T. Brooking, Desepe de Vargas, Elsa Gebreyesus, Carolyn Goodridge, J. Hubert Jackson, Wayson Jones, Viola Leak, Eugene Vango, Kathleen Varnell ,J. Bertram White, and Ann Marie Williams. The works in the exhibition illustrate various mediums and methods including digital archival prints, encaustic, silk shibori and smoke-fired stoneware.

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofdc.com

Beyond The Pale

2011-01-05T21:30:00.001-08:00

Artist's work challenges viewers to "Dream Big" Upcoming Winter gallery exhibit features the work of artist Joyce Owens

2011-01-05T21:22:00.000-08:00

Join us for a reception on Wednesday, January 12, 2011 to celebrate the opening of “Dream Big,” the Winter exhibition at Catholic Theological Union’s Mary-Frances and Bill Veeck Gallery. The reception, which will take place from 5:30 to 7:30 p.m., will feature a talk by the artist at 6:30 p.m.

Additionally, guests are invited to join us before the reception for prayer and a film as part of the Augustus Tolton Pastoral Ministry Program’s Martin Luther King Remembrance, 4 p.m., Room 210C.

Joyce Owens earned a Master of Fine Arts degree in painting from Yale University and a BFA from Howard University. Currently an art professor specializing in drawing and painting, she is the curator of the galleries at Chicago State University. Owens’ two-person exhibition, ‘Parallel Narratives”, opens January 21, 2011 with Preston Jackson, at the Museum of Greater Lafayette in Indiana and includes a museum workshop and lecture at Purdue University. In March 2011 Owens will present at the Art Institute of Chicago in their Art Connects program.

Recognition for Ragdale Fellow Joyce Owens’ artistic abilities has come from Faith Ringgold, Martin Puryear, Madeline Rabb, art critic Margaret Hawkins, Artnews correspondent, curator John Pitman Weber, and gallerist Juumane N’Namdi, awarding her prizes including Best of Show in national and international juried exhibitions. Owens’ recent awards include 3Arts, Chicago Women’s Caucus for Art and the African American Arts Alliance for her achievements in the visual arts.

Public and private collections that feature her art include: the Paul R. Jones, Dan Parker, Patric McCoy, Lisa McDonald, Dr. Robert Derden, Ed Gordon and Les Payne, Mt. Sinai Hospital clinic and Oakton Community College. Her work is in numerous publications, including books, catalogs, and newspapers, and as illustrations.

Nationally and internationally exhibited, Owens’ artwork has been shown on four continents, Including Monrovia, Liberia and Addis Ababa, Ethiopia at U.S. embassies, featured on two catalog cover pages accompanying the exhibitions and a calendar. Her work was exhibited in Georgetown, Guyana and at NATO headquarters in Brussels, Belgium.

The Mary-Frances and Bill Veeck Gallery is located at Catholic Theological Union Academic and Conference Center, 5416 S. Cornell Ave., 4th Floor, Chicago, 60615. Complimentary parking is available. The exhibit will be open from January 12 through April 6, 2011. For more information, please call (773) 371.5416.

http://www.ctu.edu/story/article/artists-work-challenges-viewers-dream-big

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: editor@blackartistsofdc.org

Focus GROUP: Four Walls, Five Women Artist Talk

2011-01-05T20:52:00.001-08:00

On the Seen: The National Museum of African Art: Grass Roots: African Origins of an American Art”

2010-12-26T11:35:00.000-08:00

Grass Roots: African Origins of an American Art”, traces the history of the coiled basket on two continents and shows how a simple farm tool once used for processing rice has become a work of art and an important symbol of African American The exhibit presents a deep and telling story that demonstrates the enduring contribution of African people and culture to American life in the southeastern United States. “Grass Roots” traces the parallel histories of coiled basketry in Africa and the United States, starting from the domestication of rice in West Africa, through the transatlantic slave trade, to the migration of African rice culture to America. The exhibit is organized by the Museum for African Art in New York, in cooperation with Avery Research Center for African American History and Culture at the College of Charleston, McKissick Museum at the University of South Carolina and the Sweetgrass Cultural Arts Festival Association, and features about 200 objects, including baskets made in Africa and the American South, African sculptures, paintings from the Charleston Renaissance, historic photography and videos. Grassroots reviews the history of the Carolina rice plantations and highlights technological innovations brought to American agriculture by people from Africa, tells the compelling story of the survival of African-American basketry over 300 years that clearly flows from very deep roots.

The first root that emerges from a seedling is called the taproot. It appears belowground before the seedling emerges above ground, is directly connected to the tree trunk it supports, and is the anchor of the plant. It is the largest, strongest root of the plant; in some cases, the taproot is as deep as the tree is tall; all of the other roots are its tributaries. This is why it is so difficult to get rid of troubling weeds like pokeberry, invasive vines, and shoots coming up from a tree that has been cut down—that tap root is still alive, and given time, it will emerge from the depths again.

Grassroots reveals the depth of the “taproot” from which Africans throughout the Diaspora drew upon in the New World, and brings the scholarship of Judith Carney’s landmark work, Black Rice (2001) to life, her research describes the African taproot that was the decisive factor in the rice cultivation that fueled the economic base of the tidewater south—Georgia, South an North Carolina in particular.

The notion that the culture of Africans was destroyed during the horror and trauma of the Middle Passage is one of the most enduring themes in American history and culture. On the one hand, apologists for slavery promulgated that belief that the minds and hearts of enslaved Africans were essentially a tabla rosa--a blank slate upon which the values and “civilizing” culture of the owners could be written upon it. On the other, planters were adamant in specifying particular ethnic groups from Africa for purchase. In sum, the Africans had no “culture” but the most sought after and valued Africans were the ones from rice producing regions. Along with the knowledge of rice horticulture and cultivation came the recreation of the material objects used in planting, raising, and harvesting the rice. Material objects used in agriculture and food production, the distribution labor, the rhythms, cycles, worldviews involved, and the way of life that revolves around the earth and the crop are the essential elements of “culture”.

It is critical that the African roots of agriculture and basketry be acknowledged, this aspect of culture was just one tributary off the tap- root. Africans also brought the remembrance of freedom, fighting and the place of the religion and spirituality in all spheres of life. It is possible to leave the exhibition with the impression that this is the only aspect of culture that survived the Atlantic. The landmark exhibition: the African Presence in Mexico spotlights Yanga, the African prince who lead a rebellion and established the all Black town of-----on the Atlantic Coast of Mexico. He was not the only warrior who arrived in the Americas.

Just as it is not true that Africans were so devastated that no recollection of the former life survived, it is also true that, while apologists might wish that “Sambo” and “Mammy” represented the African adaptation to slavery, the same individuals who were planting rice and weaving baskets were also in active resistance to enslavement and plotting rebellion.

In South Carolina, for example, incidents in 1730, 1738 and 1739 and 1740 were “especially troublesome for slaveholders, where “outbreaks” of rebellion and revolt occurred on an almost annual basis. These, and other, occurrences of outright battle and resistance contained forms that indicated strong African cultural origins, including dance, expertise in making poisons, herbal remedies, and African priests and conjurers who provided protection, prayers, and power that fueled and sustained resistance. All of these elements were of warfare in Africa—just as they remembered how to make baskets, they also remembered how to fight. In sum, not only was Africa a source of musical, agriculture and material culture, it was also fundamental in inspiring resistance and empowering a people perceived to be powerless, and formulating a new collective identity among transplanted Africans as African-Americans.

There are some who might say, yes, that may be true for South Carolina, but it did not happen anywhere else in North America. This camp concedes that there may have been “retentions” of African culture, but balks at the notion of an alternate frame of reference from the one imposed by slavery outside the Deep South.

Trial records of the 1741 conspiracy in New York City stated that “two “Cajoes”, three “Cufees”, three “Quacks”, a “Cuba” and a “Quamino”---all derivatives of Akan day names—were among the slaves implicated in the conspiracy; two others were listed as “Coromantee”, and Dr. Harry, a priest and healer, provided the powder used to start fires across the city, and lead all participants in an oath-binding ceremony that swore them to fealty to the cause of rebellion and freedom. (Walter C. Rucker, The River Flows On: Black Resistance, Culture and Identity Formation in Early America, 2006). The African burial grounds in New York City are filled with Akan symbols, at least ten different filing patters on the front teeth of skeletal remains. Burial #340 contained a clay pipe and 111 glass beads and cowrie shells around the waist of a woman---they “suggest that she belonged to an Akan speaking society where such are buried with their owner. (Rucker, 2206, pg. 50) Where there are material objects there is context in which they have meaning---the context was clearly African at its roots and flowering.

Finally, it is argued that worldview and ways of relating were eradiated by the birth of Africans born on this side of the Atlantic. With the birth of people who could be called African-Americans, one or two generations out, and certainly by the third, they would no longer exist. We can return to Grassroots, which shows how seagrass gathering, weaving and coiling skills are passed from generation to generation--- right up to the present, along with music, dance, song, modes of work and family living----and a desire, and willingness to fight for freedom, because the struggle is indeed fought on many fronts, and in many different modes.

This may be one of the reasons that the artistic expression and work of many African-American artists, including myself, even in abstract form, is indeed narrative, tells stories, presents an alternate, coexisting reality and perspective on life and art and history, or emphasizes distinct cultural and aesthetic themes. This means that the art, while adding beauty to life, also as a purpose and a role in the daily lives of the people for whom it is made, and who used as integral part of their daily lives.

By Anne Bouie

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofdc.com

Peggy Cooper Cafritz irked by black art platitudes at Katzen

2010-12-07T20:51:00.000-08:00

Posted at 10:21 AM ET, 11/22/2010

By Jessica Dawson

Curator J.W. Mahoney leads a tour at American University's Katzen Center on Saturday. (Courtesy of Max Cook)
An impassioned plea to area art institutions to show black artists interrupted last Saturday afternoon's smile-and-nod curator's talk at "Catalyst: 35 Years of Washington Project for the Arts" on view at American University's Katzen Arts Center. During the exhibition walk-through with curator James Mahoney, arts patron Peggy Cooper Cafritz, victim of a devastating fire that destroyed her extensive African- and African-American-heavy art collection, asked why the black artists in "Catalyst" were so few and far between -- and why they were segregated to certain areas of the exhibition. Mahoney's platitude-ridden reply -- "I'm with you," "God Bless him," --- irked Cafritz, and rightly so.

Concerned with how to represent black artists in his show, Mahoney struggled to arrive at an adequate solution. Over the past decades, Mahoney explained, African American artists employed different strategies in their search for equality. According to the curator, some artists advocated for inclusion with white artists as a means to equality; others argued for being "separate to be enfranchised." Many of the "Catalyst" artists are arranged around exhibitions held by the non-profit Washington Project for the Arts, including exhibitions such as 1989's "The Blues Aesthetic: Black Culture and Modernism," which included both black and white artists. Mahoney's segregation of black artists largely followed the WPA's history.

Cafritz ventured that the problem stemmed from Washington's institutions -- both Smithsonian and private museums -- where African American contemporary art remains a rarity. She cited the Baltimore Museum of Art's 2009 exhibition of Hank Willis Thomas and iona rozeal brown's recent exhibition at Cleveland's Museum of Contemporary Art as examples of shows that should have happened in Washington.

Peggy, you're absolutely right. Isn't it time for the Katzen to step in? They've got the right space and they're in desperate need of an identity. What do you say, Jack Rasmussen?
By Jessica Dawson | November 22, 2010; 10:21 AM ET
Categories: Galleries, Jessica Dawson, Smithsonian

http://voices.washingtonpost.com/arts-post/2010/11/peggy_cooper_cafritz_speaks_ou.html?referrer=emaillink

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofdc.org

FOCUS GROUP: Four Walls, Five Women

2010-11-03T11:56:00.000-07:00

Presented by Black Artists of DC (BADC)

Featuring work by Jamea Richmond Edwards, Danielle Scruggs, Natalie Lord, Kristen Hayes, Amber Robles-Gordon

Curated by Zoma Wallace

FOCUS GROUP: Four Walls, Five Women seeks to spark a visual discussion between artworks created by Black women and a verbal dialogue between those who view and purchase them. The topic of discussion is material. What are artists using? What materials do they feel drawn to? How does Black femininity affect or reflect itself in the chosen material(s), if at all? How does femininity affect the delivery and/or reception of the message?

The voices of the women artists in this exhibition are heard primarily through material form. Embracing both visual and verbal discussion, FOCUS GROUP: Four Walls, Five Women hopes to determine how effectively unique material languages are deciphered/valued/appreciated/acquired by a universal audience and market.

FOCUS GROUP: Four Walls, Five Women is the second in a series of collaborations between DC Arts Center and Black Artists of DC. The purpose of Black Artists of DC (BADC) is to create a Black artists community to promote, develop and validate the culture, artistic expressions and aspirations of past and present artists of Black-Afrikan ancestry in the Washington, DC metropolitan area.

Opening Reception Friday November 19, 7-9pm

District of Columbia Arts Center
2338 18th Street NW, Washington, DC 20009
http://www.dcartscenter.org/submit_gallery_future.htm

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofdc.com

Anne Bouie's Art Journal: Check Out WPA's The Critique Session

2010-10-13T21:53:00.000-07:00

On Saturday, August 14, 2010, I arrived to check out The Critique
Session, hosted by "http://thestudiovisit.com/ the Studio Visit @ WPA "http://thestudiovisit.com/. The Studio Visit is a web
journal with a dedicated focus on visual artists and their process. (http://thestudiovisit.com/"http://thestudiovisit.com/),
and was created in 2008 as a virtual public access forum by WPA
member, Isabel Manalo. As part of WPA's Coup d'Espace initiative,
Manolo and TSV held an open forum where artists discuss current work
and works in progress. Five artists presented work: Kendall Nordin,
Amy Glengary Yang, Lisa K. Rosenstein, J. Jordan Burns, and Mei Mei
Chang. The critique was moderated by curator and arts leader Karin
Miller, formerly with Conner Contemporary and now Program Manager for
Visual Arts and Creative Communities Fund. Karin is also responsible
for the management of the artist selection and recruitment process in
the Flashpoint Gallery, as well as the coordination of the gallery’s
advisory panel.

Although the work shared spanned a number approaches and
genres, the common theme was the artistic process. Four of the five
artists shared that their work had been spurred by profound and deeply
felt challenges in their lives, and two in particular resonated with me deeply—confounded memories, and the loss of one’s father.

J. Jordan Burns shared that his work was created after a brain tumor.
Memory loss caused him to be able to remember bits and pieces but
unable to place them in context. His work uses an array of materials:
acrylic- and oil-based enamels, shellacs, and wood stains. I
resonated with one piece in particular where part of the work was very
figurative and the abstract seemed to have emerged out of and from the
concrete reality. He and I chatted after the presentations, and shared
the experience of remembering an event but not being able to remember
anything that prompted, preceded, or followed it. His work seeks to
depict these experiences. Like many artists, including Michael Platt and Aziza Gibson-Hunter. He was insistent about the use of both abstract and figurative modes in his work, stating that, he does not see or feel the need to pose abstract against figurative, use one instead of the other, or choose between them. I sensed that surviving grad school, and battling for his health have given him resolve and confidence to work as he feels it to be.

Lisa K. Rosenstein’s work also emerged from a period of “chaos
struggle and pain where she wanted to be released from the experience
of constraint and the desire for freedom." Her woven objects made from fishing wire. Most striking for me was work that served as a kind of totem and memory keeper of her father who died two weeks short of his ninety-second- birthday. The piece was done on a 12 x24 canvas, using white on white acrylic and consisted of 92 narrow columns which represented each year of her father’s life; each row consisted of 52 dots, each representing the weeks of the year. The last row was missing those final two weeks….

There was ample dialogue throughout the critique. It had the feel of
a comfortable, intentional, and focused conversation with lots of
thought and reflection by artists, the audience, and facilitator. I
was especially taken with the questions Karin posed to the artists.
While she posed them to each artist specifically, based on her
research of each artist’s work and review of the websites, they are
useful for any artist, so I will simply roster them for reflection:

Is this work in keeping with what you’ve been doing, or does it
represent a departure?

• How and why do you choose your materials?
• What is the intention behind the work?
• How do you approach a painting or a larger body of work?
• How do title your works?
• How does the viewer come into, or connect with it?
• What do you want the viewer to leave with?

I left the critique with that sense of what Judith Cameron says
is the mark of a good session: where the feedback and questions prompt that “aha” response as opposed to the “ouch” that can cause an artist to put their tools away and shut down their creative process—which, when you reflect on it, is akin to crushing a person’s spirit. It was the kind of feedback and sense of camaraderie that I have often experienced at critiques sponsored by Black Artists of DC (BADC), and just as that group incubates and nurtures, the critiques hosted by The Studio Visits and Washington Project for the Arts provide space and room to grow and breathe as well.

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: editor@blackartistsofdc.org

Black Artists of DC: “BLACK ABSTRACTION” Exhibit Prospectus

2010-10-13T21:38:00.000-07:00

Produced by: Black Artists of DC
Sponsors: Black Artists of DC & Harmony Hall Regional Center/Arts

Location: Harmony Hall Regional Center/Arts
10701 Livingston Road
Fort Washington, MD 20744
Tel. 301.203.6069

Curator: Jarvis DuBois

Open to all Media

Submission Fee: (non-refundable)
BADC Members: (who have paid their annual dues) $30 US dollars for up to 10 images;

Non-Member: $45 US dollars for up to 10 images (or $30 with $25 membership fee to join
BADC)

Dates of Exhibit: January 17, 2011 – Saturday, March 12, 2011

Submission Deadline: November 12, 2010

Exhibit Description:
What comes to mind when you think of abstract art? Too often we think of abstraction as just expressively rendered colors, geometric shapes on flat canvas, but it encompasses a range of styles from naturalistic to nonobjective, the intangible (social and political ideas, dreams, fears) made tangible (use of deep hues, heavy brushstrokes, untraditional formats). In this exhibition, Black Artists of DC takes on the concept of abstract art in the 21st century. Our goal is to explore the many dimensions, layers, mediums, and possibilities of this often misunderstood movement.

Notification of Selected Artists: Artists will be notified of acceptance or non-acceptance no later than November 26, 2010. Notification will be made by email and/or by phone.

Delivery of work to Harmony Hall gallery on Friday, January 7, 2011: 9am – 5pm and Saturday, January 8, 2011: 10am – 4pm

Distribution of Invitations: To Be Announced

Opening Reception: Saturday, January 22, 5-7pm

Dates for picking up work: March 16, 2011: 9am – 5pm; March 17, 2011: after 4pm;

Submission Guidelines:
Artists may submit up to 10 digital JPEG images, at 300 DPI. For sculptural or three-dimensional pieces, 2 images may be submitted for each work. The images must be submitted on a CD, in JPEG format only. No files larger than 1MB. Image files on the CD should be titled as follows: number (corresponding to the Submission Form), last name, first name and title. The same information must also be written on the Submission Form/Image List, including additional requested information. Artwork submitted must be no larger than: for 2D – 36” x 48”. Please do not send originals. CDs will only be returned if a self-addressed stamped envelope (SASE) with sufficient postage is included. Also, submit a bio and artist's statement (1 page total).

Payment:
Entry fee can be paid by cash, check or money order payable in US dollars. Please make check or money orders payable to Black Artists of DC.
Please note on check: BADC “BLACK ABSTRACTION” Exhibition.

Please send Payment, CD and submission form to:

BADC: Black Artists of DC: “BLACK ABSTRACTION” Exhibition
c/o T. H. Gomillion, Treasurer
Address: 3218 Chestnut Street, N.E.
Washington, D.C. 20018
Contact Number: 202-269-2757
Email Address: freegomillion@yahoo.com

Terms: Work not for sale should be marked NFS. All work must remain for the duration of the exhibit.

Sales: Sale price is determined by the artist. A 25% commission will be retained by the M-NCPPC from a sale of a work through this exhibition.

Insurance: Damage and theft insurance will be provided throughout the duration of the exhibit once work is received at the Harmony Hall gallery.

Frames and Mounting: Must be of fine quality, consistent with painting/photographs, with attached wire. For sculpture or three-dimensional, pedestal or vitrine requests must be made in advance.

Shipping and Handling: The artist is responsible for all costs of shipping and handling of their artwork. We suggest the artist insure their artwork through the shipping company. All shipped artwork must include prepaid return shipping label enclosed in the packaging.

*We reserve the right to use submitted images and information for inclusion in the exhibition, catalogs and/or other promotional endeavors to publicize the exhibition.

Submission Form/Image Identification List
Artist and Contact Info Name:_________________________________________________¬_
Address:_____________________________________________________________________
Email Address: _______________________________________________________________
Phone: (Day) ___________________________ Phone: (Evening)_______________________
FOR 3D ART-PLEASE ADD DEPT DIMENSION
Last name, first name, title, medium, size, date completed and price.
# (ex: 01. Brooking, Daniel, Sankofa, Digital archival print, 20"x20", 2009, $500)

01.

02.

03.

04.

05.

06.

07.

08.

09.

10.

[ ] BADC Member, $30 [ ] Non-member, $45 (or $30 plus $25 membership fee to join BADC)
Fee enclosed $____________________

Artist's Signature_____________________________________________Date___________

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: editor@blackartistsofdc.org

DC Commission on the Arts and Humanities (DCCAH) and Black Artists of DC Presents the Omnipresence Exhibition

2010-09-12T20:21:00.000-07:00

The Gallery at AYN Studio presents Jamea Richmond-Edwards and Amber Robles-Gordon

2010-09-05T22:29:00.000-07:00

Amber Robles-Gordon, Milked, 2010, 30x30 on canvas Jamea Richmond-Edwards, Unforsaken, 2010, 18x24 on canvas

Jamea Richmond-Edwards and Amber Robles Gordon:
Pretty Things, Little Treasures and Hidden Meanings
Friday September 10- Friday September 24, 2010

WASHINGTON, D.C. — The Gallery at AYN Studio in the Penn Quarter neighborhood, will present an exhibition of collage and assemblage creations by artists Jamea Richmond-Edwards and Amber Robles-Gordon entitled, “Pretty Things, Little Treasures and Hidden Meanings”. The exhibition will open on Friday September 10, 2010 with a public reception from 6:30-8:30 pm. The exhibition will remain on view by appointment until Friday September 24, 2010.

“Pretty Things, Little Treasures and Hidden Meanings” is inspired by the themes in their work that convey the feminine mystique. Both women focus on their personal stories and the roles of women in society. The “Pretty Things” refers to the physical beauty and the sentiment that women attribute to the things they collect and adorn themselves with. “Little Treasures” are the intricate details that create the narratives. The “Hidden Meanings” are the various images and concepts that encompass the feminine mystique, yet reproduce social norms that confine.

This exhibition is the product of an artistic partnership and dialogue about emerging women artists. The dialogue began about how to navigate through the art world and challenge the notion of the individual and isolated artist. The two artists met while working on their MFA’s at Howard University and through their affiliation with Black Artists of DC. They discovered commonalities in their work and decided to partner and exhibit works focusing on womanhood.

Detroit native Jamea Richmond-Edwards studied painting and drawing at Jackson State University.
She primarily paints women and is influenced by childhood memories and the complex lives of the women in her life. She has developed her own unique style of mixed media portraiture using paper, graphite, and ink.
Amber Robles-Gordon is an artist, student, and native of Puerto Rico. She is currently finishing her Masters in Fine Arts at Howard University. Her medium is collage and assemblage. She focuses on fusing found objects to convey her own personal memories, inspired by nature, womanhood, and her belief in recycle energy.

Artist work can be viewed at www.jamearichmondedwards.com, www.amberroblesgordon.com
Interview Contact and to make appt: Amber Robles Gordon
Telephone: 240-417-4888

Contact: The Gallery at AYN Studio
923 F St. NW Suite#201,
Washington, D.C.
202-271-9475
http://www.aynstudio.com
gediyon@AynStudio.com

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: editor@blackartistsofdc.org

On the Seen in Philadelphia…

2010-09-05T22:23:00.000-07:00

New Narratives and Reinterpretations was the theme of an informal panel discussion that explored the trend among African American artists to use historic text and images in their narratives, examine new perspectives and utilize new creative formats. I first learned of the event from George-McKinley Martin‘s blog, the Black Art Project— a great place to keep up with all that’s going on across the country. The moderator of the panel was Professor Keith Morrison, Tyler School of Fine Art, and included Tanya Murphy Dodd, of Philadelphia, Pamela Phatsimo Sunstrum from Baltimore, Leticia Huckaby from Ft. Worth, and Nsenga Knight of Brooklyn.

August 7 was one of those “this-is-why-we-live-in-Philadelphia summer evenings”---immensely walkable and enjoyable: people on the street strolling, with great energy which flowed right into the Glass Lobby Gallery at Brandywine Workshop’s Print Shop and Archive. Located in Philadelphia’s Avenue of the Arts District at 728 South Broad Street, the Workshop opened its printmaking studios to guests and participants, who had come to mingle, share and incorporate new knowledge, meet new folk, and reconnect with old friends. I finally remembered the old Woody Allen quote: “eighty per cent of life is just showing up!” Allan Edmunds, the Executive Director made the evening sound so exciting that I could not bear to have said I could have gone and didn’t; good friend Aziza Gibson-Hunter asked that I make sure to tell her about it.

So… I got the bus schedule, checked around for hotels, and booked a room at the Latham that beat the price at the Holiday Inn— nothing like cash flow as a sign from the Universe! I felt even more at home upon seeing Otis Robertson, a long-time Board member at Brandywine, and frequent presence here in Washington, DC. He is a regular at the Millennium Arts Salon, and worked with Lynn Sylvester and Margie Bates to establish a Friends of Brandywine chapter here as well. John Dowell, Professor at Temple University was in attendance, as was A.M. Weaver, who is curating a retrospective of E. J. Montgomery’s work at Morgan State University’s James E. Lewis Museum in October, 2010.

Keith Morrison, the former dean and currently a professor at the Tyler School of Fine Art provided context for the panel, stating that the convergence of the artists at Brandywine prompted organizing the panel around the notion of the past is not really the past at all—it’s all around us. He stated that we cannot avoid history and that our definition of self shifts as we reengage with historical documents.

Tanya Murphy Dodd, shared it was the realization that all the elders of her family were passing which stirred her to “want to know who these people were”, and document their existence before it was forgotten and lost”….One strain of her work incorporated her photography—she “still uses film” and actually makes her own cameras! She was interested in, and motivated by “the recovery of history”, and felt that being a storyteller she presented an “evolving definition of truth” in her work.

Letitia Huckaby of Houston stated that much of her inspiration and use of textiles---quilt pieces and remnants, old fabric and flour sacks---stemmed from a desire to affirm and validate people who were often seen and treated as if they were “leftover and tossed away scraps”. Her wedding dresses made from yoyo quilt pieces emanated regard for the work, creativity and practicality of the women who created this still-popular quilting piece, and she incorporated traditional African American quilt pieces—Blocks and Strikes, and the Double Ring quilts; she also spent time with the legendary quilters of Gee’s Bend. Her “conversation with historical documents” helps her grasp the meaning behind them, and shared her deep identification with the pieces, “they are so personal”.

Pamela Phatsimo Sunstrum of Baltimore, who was born in Botswana, and has done installations in such places as Johannesburg, South Africa, used the creation of an alter ego, Asme” to chart and document journeys across time and space. Like many mythic characters, what Native Americans, Africans, accompanied Asme and other pre-conversion cultures would call a “totem”-the Canadian grey goose. The traditional meaning, or “medicine” of the goose is that of travel, instinctive guidance, or direction. At one point, Asme has to sacrifice her goose in order to survive; one only hopes that there will be some way to resurrect her…Asme travels took her far way from home to new and strange lands where she had to recreate herself and make meaning of strange new settings and beings---a very telling theme in the history of Africans in the Diaspora….

Finally, Nsenga Knight of Brooklyn presented photographs and compositions based on Islamic and New World motifs and incorporating iconic figures in African-American history, and experienced “art as a political platform for community activism and awareness” because we need to revisit the past. She spoke of the need to revisit the past because its residue persists over time and leaves their mark on us…

Audience members asked panelists about how they saw their work evolving, what were the current challenges they faced, and, of course, when and where was the next exhibit going to be.

I found affirmation and a sense of community as an artist and a historian. I will confess that I share the same need to affirm my ancestors and reinterpret the ways in which their lives and experiences have been defined and articulated by the larger society. History is being rewritten and experienced but, more importantly, truth that is crushed to earth does and will rise again. The panel sparked me to reflect in these ways.
• What did the lives of our ancestors mean to them; is it different from the meanings that we attribute to them?
• How do we think of what their lives were and meant?
• Just how did they view their world, and all its complexity—and how did they respond to it?
• Did they respond in the ways we thought they did, or the “historians” –and we do need to ask ourselves which historians— depicted and interpreted?
• What is the legacy of the past—in all spheres-social, politics, economics, spiritually-- and how are we building upon it?
• How do we experience the river of our roots running through us? What do they water; where are the dry spots, and how do we direct the healing streams to them?
I look forward to continuing this discussion, and certainly my next visit to the Brandywine Workshop.

Anne Bouie is an artist, writer, educator and historian. She works and lives in Washington, D.C., and may be reached at asbouie1201@mail.com.

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: editor@blackartistsofdc.org

DC Commission on the Arts and Humanities (DCCAH) New series of fine art exhibitions in partnership with the Mandarin Oriental of Washington, DC

2010-08-13T09:38:00.000-07:00

BLACK ARTISTS OF DC ARTISTS CALL!!!!

Dear Artists,

This summer, the DC Commission on the Arts and Humanities (DCCAH) is embarking on a new series of fine art exhibitions in partnership with the Mandarin Oriental of Washington, DC. As part of the series, a fall exhibition entitled Omnipresence will be mounted to focus attention on the contemporary art explorations and influences from Black artists within the Washington art community. To continue building on the established bond between the Black Artists of DC (BADC) and DCCAH, we would like to extend an invitation to each BADC member to submit up to ten (10) images for consideration for this exhibition. The deadline for submission is August 27, 2010 at 7PM. It will be an honor to present the artistic contributions of the Black Artists of DC to the international and diplomatic patrons of the Mandarin Oriental as well as the influx of attendees to the 40th Annual Legislative Conference of the Congressional Black Caucus. Our primary goals for this initiative are to highlight the work of Washingtonian artists, expand the District art collection, and raise the profile of DCCAH grantee artists.

Through this show, selected artists will have the opportunity to exhibit in the Mandarin Art Gallery from September 10, 2010 through October. An opening reception on September 15th will coincide with opening of the CBC Conference as the exhibition will be a centerpiece to a sequence of concurrent programs planned by the Mandarin. The DC Commission on the Arts and Humanities is also interested in acquiring outstanding works at the close of this show for the District’s Art Bank collection. Please find the application form and information packet attached to this letter. We look forward to a robust response and the opportunity to become more familiar with your work.

Sincerely,

Gloria Nauden
Executive Director

Ayris Scales
Deputy Director

Theme:
The theme and title for this exhibition is Omnipresence. Artists are encouraged to approach this concept from any angle. What is your visual interpretation of Omnipresence? In your personal experience, what is present in all places at all times? Are there ubiquitous cultural manifestations that you have observed in your travels or study? Or is there someone whose influence or persona you seem to encounter at every turn? Responses can range from the spiritual to comical, realistic to abstract.

Artwork:
Two and three-dimensional works including, but not limited to prints, drawings, mixed media compositions, paintings, photographs, ceramics, and moveable sculptures will be considered. Each artist is allowed to submit up to ten works for consideration.

Selection Process:
A panel of distinguished art professionals will review submitted images and make preliminary selections. Studio visits will be conducted to make final selections.

Calendar:
August 27: Deadline for submission. Entries must be received no later than 7PM.
Week of August 30: Preliminary selection and notification to artists.
Week of August 30: Studio visits to make final selections.
September 6: Delivery of selected works to DCCAH.
September 15: Opening reception.

Send all materials to:
Mandarin Art Gallery Exhibition
Attention: Zoma Wallace, Art Bank Coordinator
DC Commission on the Arts and Humanities
1371 Harvard Street, NW Washington, DC 20009

For More Information Contact:
Zoma Wallace, Art Bank Coordinator
DC Commission on the Arts and Humanities
Zoma.Wallace@dc.gov
(202)724-5613

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofd.com

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofdc.com

DC Commission on the Arts and Humanities (DCCAH) New series of fine art exhibitions in partnership with the Mandarin Oriental of Washington, DC

2010-08-13T08:46:00.000-07:00

Dear Artists,

This summer, the DC Commission on the Arts and Humanities (DCCAH) is embarking on a new series of fine art exhibitions in partnership with the Mandarin Oriental of Washington, DC. As part of the series, a fall exhibition entitled Omnipresence will be mounted to focus attention on the contemporary art explorations and influences from Black artists within the Washington art community. To continue building on the established bond between the Black Artists of DC (BADC) and DCCAH, we would like to extend an invitation to each BADC member to submit up to ten (10) images for consideration for this exhibition. The deadline for submission is August 27, 2010 at 7PM. It will be an honor to present the artistic contributions of the Black Artists of DC to the international and diplomatic patrons of the Mandarin Oriental as well as the influx of attendees to the 40th Annual Legislative Conference of the Congressional Black Caucus. Our primary goals for this initiative are to highlight the work of Washingtonian artists, expand the District art collection, and raise the profile of DCCAH grantee artists.

Through this show, selected artists will have the opportunity to exhibit in the Mandarin Art Gallery from September 10, 2010 through October. An opening reception on September 15th will coincide with opening of the CBC Conference as the exhibition will be a centerpiece to a sequence of concurrent programs planned by the Mandarin. The DC Commission on the Arts and Humanities is also interested in acquiring outstanding works at the close of this show for the District’s Art Bank collection. Please find the application form and information packet attached to this letter. We look forward to a robust response and the opportunity to become more familiar with your work.

Sincerely,

Gloria Nauden
Executive Director

Ayris Scales
Deputy Director

Theme:
The theme and title for this exhibition is Omnipresence. Artists are encouraged to approach this concept from any angle. What is your visual interpretation of Omnipresence? In your personal experience, what is present in all places at all times? Are there ubiquitous cultural manifestations that you have observed in your travels or study? Or is there someone whose influence or persona you seem to encounter at every turn? Responses can range from the spiritual to comical, realistic to abstract.

Artwork:
Two and three-dimensional works including, but not limited to prints, drawings, mixed media compositions, paintings, photographs, ceramics, and moveable sculptures will be considered. Each artist is allowed to submit up to ten works for consideration.

Selection Process:
A panel of distinguished art professionals will review submitted images and make preliminary selections. Studio visits will be conducted to make final selections.

Calendar:
August 27: Deadline for submission. Entries must be received no later than 7PM.
Week of August 30: Preliminary selection and notification to artists.
Week of August 30: Studio visits to make final selections.
September 6: Delivery of selected works to DCCAH.
September 15: Opening reception.

Send all materials to:
Mandarin Art Gallery Exhibition
Attention: Zoma Wallace, Art Bank Coordinator
DC Commission on the Arts and Humanities
1371 Harvard Street, NW Washington, DC 20009

For More Information Contact:
Zoma Wallace, Art Bank Coordinator
DC Commission on the Arts and Humanities
Zoma.Wallace@dc.gov
(202)724-5613

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofd.com

BADC is in the HOUSE!!!!11 x 51: 2011 Artist Fellowship Program – Visual Arts Exhibition at The Joan Hisaoka Healing Arts Gallery at Smith Farm Center

2010-08-12T14:54:00.000-07:00

Come out and support on Friday!!!Wednesday, August 11, 2010 6:00 PM

Opening Night, Friday, August 13, 2010 at 6 pm
Gallery Hours: Wednesday–Friday 11 am-5 pm, Sat. 11 am-3 pm
Exhibition Closes, Wednesday, August 25, 2010, 5 pm

Media Contacts

Moshe Adams, (202) 724-5613

The DC Commission on the Arts and Humanities (DCCAH) is proud to announce the 2011 Artist Fellowship Program (AFP) exhibition. AFP offers grants of $5,000 to individual artists who make a significant contribution to the arts and who strive to promote the arts in the District of Columbia. The artistic disciplines funded by the Artist Fellowship Program are rotated on a biannual basis, this year media and visual arts applications were accepted and next year (FY2012) performing arts and literature applications will be accepted. This program is unique because all AFP applicants have the opportunity to exhibit their work for free at The Joan Hisaoka Healing Arts Gallery at Smith Farm Center. While on display, the work will receive exposure from residents, art aficionados and the press. The AFP grant program is an excellent example of how DCCAH promotes diverse mediums and artistic disciplines. The exhibit will open at The Joan Hisaoka Healing Arts Gallery at Smith Farm Center on Friday, August 13, 2010 at 6:00pm and will close on Wednesday, August 25, 2010.

Opening Night, Friday, August 13, 2010 at 6 pm
Gallery Hours: Wednesday–Friday 11 am-5 pm, Sat. 11 am-3 pm
Exhibition Closes, Wednesday, August 25, 2010, 5 pm

Where: The Joan Hisaoka Healing Arts Gallery at Smith Farm Center
1632 U St NW, Washington DC, 20009

Exhibiting Artists include:
Adam Davies, Alec Simpson, Alexandra Silverthorne, Andrew Konrad Wodzianski, Anna U. Edholm Davis, Beatrice Hamblett Delmonte, Bernard Smith, Bruce McKaig, Colin Winterbottom, Cory Oberndorfer, Dana Jeri Maier, Daniel Brooking, Donald Sterling Benjamin, Elaine Langerman, Elizabeth Wyrsch, Gediyon Kifle, James Brown Jr., James L. Hicks II, Jason Haber, Jenna Buckingham, Jenny Walton, Joanne S. Kent, John James Anderson, Joshua Cogan, Joshua Yospyn, Judy A. Southerland, Katharine MacDonnell, Kenneth George, Lely Constantinople, Leslie Talusan, Margaret Anne Marchand, Marta Perez Garcia, Michael Dax Iacovone, Michael Janis, Nancy Donnelly, Nicole Aguirre, Patricia C. Goslee, Patricia Tobacco Forrester, Patrick Michael Beldio, Peter Dueker, Rachel Beamer, Rania Salah Hassan, Rex Weil, Rik Freeman, Roderick Turner, Scott G. Brooks, Sean Hennessey, Sheila Crider, Sondra N. Arkin, Terrance E. Biddle, Tim Tate.

For a sneak peak of the artist's work visit Facebook.

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofdc.com

A quick overview of color management in Photoshop

2010-07-08T19:39:00.000-07:00

July 8, 4:45 PMDC Photoshop Examiner by Jarvis Grant

This image illustrates the colors available in the sRGB color space

Before we begin setting Photoshop’s Color Preferences, let’s talk a little about color management. Color Management is the process by which we can create predictable and consistent color results for our output requirements. In other words, the colors that we see when we take a photograph in the field or for the art and designs we create with the computer will be the colors we see when we make a print or web page. Think of color management as a language. With this language, input devices like cameras and scanners can talk with monitoring devices like software and computer monitors that will then communicate with output devices like printers and digital displays. Color management is a whole topic in itself, but for now we’ll limit it to Photoshop’s Color Preferences.

Here we see the underside of the sRGB color space

The first thing we want to define with Photoshop’s Color Preferences is the Color Space that our images will live in. Digital images are first going to be defined by their color channels. These color channels will either be defined by RGB, Red Green and Blue or they will be defined by CMYK, Cyan, Magenta, Yellow, and Black. For the majority of work that will be done Photoshop, we will be working with the RGB Color Mode. The Color Space determines how much of the RGB information is represented by the image. To get a better idea about this, let’s take a trip back to your 3rd grade art class. Ok you’re to start making some art. Do you want a box of crayons with 8 colors or do you want a box of 16 colors? Not enough, how about 24 or 32 colors? You may even dream of being a real artist one day with a box of 64 crayons, plus sharpener built into the box! But in truth, will you ever really use all those colors?

Well Photoshop is a box of 16 million color crayons! Our ability to use all those colors is defined by the Color Space. The more colors we want to use the bigger the color space. This color space size is called the Gamut. Keep in mind that the human brain can only decipherer a couple of thousand of those 16 million colors anyway, but we still want them to be as truthful as possible in our images.

So, when we are setting up Photoshop’s Color Preferences, we are controlling how Photoshop will handle, Color Mode, Color Space, and Color Gamut. By controlling these three elements we will be instructing Photoshop on how to interpret the color information coming into the software and the color information leaving it. The Photoshop Color Preferences command is a primer grammar and style guide for the language of color management.

Get alerts when there is a new article from the DC Photoshop Examiner. Go to Examiner.com

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofdc.com

BEYOND THE EASEL: The Business of Art 101

2010-06-24T22:01:00.000-07:00

GO TO OUR SITE FOR MORE INFORMATION http://badcbridge.com/

Rosetta DeBerardinis:

Instructor: Rosetta DeBerardinis, School 33 Resident Studio Artist, Liquitex Artist of the Month: 2007, contributor to Daily Campello Art News, former Art Tour Guide, and abstract painter whose work has been exhibited and sold at commercial galleries and art venues in the Washington metro area, Baltimore, Richmond, VA. Dallas, TX, Croatia, India, China, New Jersey,and museums in Washington, DC and Dallas, Texas.

Beyond the Easel

This course is designed for artists who want to approach art as a business. Defining goals, identifying the market, the studio, developing a body of work, marketing tools, promotion, the Internet, galleries and other venues are some of the topics to be discussed. It will provide the basic organizational and marketing skills required to exhibit and sell artwork. Years of research and personal experience are fused together to deliver a firm foundation for those determined to understand the business of art. Artists are required to bring a notebook and a writing instrument.

Date: June 27, 2010

Location: Zenith Gallery

Chevy Chase Pavilion

5335 Wisconsin NW

2nd Level (Next to Cheese Cake Factory

Chevy Chase DC 20015

Time: 10:00-5:00

Cost:

Members $50

Non-Members $75.00

Class Size: 20

NOTE:

I took this class and it is an excellent introduction to things artists need to be considering beyond their craft. This class is made of the stuff graduate programs refuse to confront.From exhibition venues, to studio practices, to seeking mentoring, to how to market yourself, to even hanging your first show. Rosetta provides you with lots of stories some researched, some told over wine after a reception, but always filled with information to be seriously pondered. Because of her legal background Ms. DeBerardinis, takes the time to research her topics to their fullest. I highly recommend this class for all artists, because without a fundamental understanding of this challenging business we, the artists, can never have power over our lives and the work we produce to sustain us.

Claudia Aziza Gibson-Hunter

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofdc.com

BADC Bridge Begins with “Is the Price Right?”

2010-06-24T21:13:00.000-07:00

The BADC Bridge Program has begun, and the first class was filled to capacity in only two days. On June 18th 2010, something quite unique was taking place in a small row home in historical Ledroit Park. Upon entering the house one’s jaw drops due to the striking artwork and beautiful interior decorating. E.J. Montgomery, a seasoned curator, arts administrator, consultant, and artist in her own right, and Caesar Jackson, the gallery owner known for his brisk sales of African American art, came together to assist BADC artists in understanding how to attach a monetary value to their work. The artists attending ranged from young artists entering graduate school to senior artists, both male and female. The class was called “Is The Price Right?’,

We began by taking a tour of the space. Mr. Jackson and Ms. Montgomery selected several pieces for us to price, giving us information about the artists, their training, achievements past galleries that had carried their work. We then shared the prices we believed the pieces would sell for. Next, Mr. Caesar gave us the actual price, and why. There were mixed emotions as we discovered that we under priced, overpriced or were right on target in pricing a work. Follow-up questions helped us to better understand how the work was assigned value.

Each of the attending artists were then able to share their work and ask what price Mr.Caesar feels he would attach to the work for it to sell in his establishment to his market. The works critiqued were strong, varied in media and content. He told us antidotal stories about works that were over or under priced. We discussed the perils of framing and it’s effect on the work, and the need for work to be titled to aid in selling work.

Both E.J. Montgomery and Mr. Jackson seemed to be impressed by the work shared by our artists. BADC artists found the class to be chocked full with information. BADC wants to extend a heart felt thank you to both Ms. Montgomery and Mr. Jackson for a MOST informative class.

We identified a few glitches in the registration of artists. For instance three artists did not know to bring their works because BADC did not have their e-mails on file to share up dated information.. In the future e-mail addresses will be a requirement for registration. We would also like to help the flow of the classes to keep pace with the time constraints of the class. “Is the Price Right? was the first of over 15 classes that will be offered by the BADC Bridge Program this summer. Future classes include: “How to Make it Stick: a Class in Adhesives”, “Beyond the Easel: A Class in the Business of Art “, How to Make it Last: a Class in Archival Materials”, “Record Keeping for Artists and the Use of Documentation in the Valuation of Art Work”. These are just a few of the many exciting BADC Bridge classes that will be offered this summer. Many of the classes will be open to all Washington DC artists. Working together we can create one of the most knowledgeable communities of artists in the country.

By Claudia Aziza Gibson-Hunter
Images by Gloria Kirk
Anne Marie Williams and James Brown

All content © 2007 Black Artists of DC all rights reserved.For permission to reproduce contact: www.blackartistsofdc.com

Black Artist of DC presents 2010 James A Porter Honorees "Setting the Pace: Innovators of Social Consciousness in African American Art"

2010-04-11T17:47:00.000-07:00

Come celebrate and experience a historic tribute to master artists, Elizabeth Catlett, Dr. Floyd Coleman, Dr. Jeff Donaldson, in addition an acknowledgment of art collector, educator, and cultural philanthropist, Ms. Peggy Cooper-Cafritz.

Named in honor of the pioneering art historian and professor, the James A. Porter Colloquium is the leading forum for scholars, artists, curators, and individuals in the field of African American Art and Visual Culture. To support the continuation of his legacy, the DC Commission on the Arts and Humanities joins the Black Artists of DC and Howard University in collaborative partnership to host our April Art Salon. This unique event will celebrate an exhibition of works by the esteemed honorees and will cross pollinate scholars, collectors, administrators, and supporters of the Washingtonian creative communities.

A special address will be given by Dr. Anne Ashmore-Hudson, Chair of the DC Commission on the Arts and Humanities (DCCAH) in addition to remarks by Commissioner Marvin Bowser, DCCAH, Tritobia Hayes Benjamin, Ph.D, Associate Dean for the Division of Fine Arts, Howard University, Dr. Gwendolyn Everett, Ph.D Chair of the Department of Art, Howard University and Exhibit Coordinators for Black Artist of DC, Amber Robles-Gordon, President and Akili Ron Anderson, Board Member.

Special guests include honorees, Dr. Floyd Coleman and Ms. Peggy Cooper-Cafritz. We would like to also extend a special thank you to the collectors generously loaning artworks to this exhibition: Dr. Floyd W. Coleman, Howard University Department of Art, Jameela Donaldson Esq. and the Estate of Dr. Jeff Donaldson, Rev. Douglas E. Moore and Dr. Doris Hughes-Moore (providing artworks by Elizabeth Catlett).

DATE: April 17th, 2010

Exhibition Reception will be located in the Howard University Gallery of Art in the Lois M. Jones and James Wells Gallery, Childers Hall Division of Fine Arts

RECEPTION TIME: 6PM-8PM

Prior to the reception, Art Salon attendees are invited to a Graduate Student Open Studio, to be held in the Howard University Fine Art Atelier between the hours of 4:30 and 5:30. The atelier is located at 2467 Sherman Ave, NW Washington DC, 20059 on the campus of Howard University.

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For permission to reproduce contact: www.blackartistsofdc.com

Mixed Media Closing Recetion @ The Corner Store

2010-03-12T17:10:00.000-08:00

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Michelle and Michael Singletary @ Parish Gallery

2010-03-08T18:14:00.001-08:00

REMINDER

In less than two weeks, Friday, March 19th you can witness an unusual and fun art exhibit by two extraordinary African American artists, Michelle and Michael Singletary. They are a husband and wife art team, who are transplanted New York artists, living in Maryland for less than a year. This will be their first exhibit in Washington DC in over 40 years, when they both received a proclamation from the city of Washington DC declaring, "March 30,1987, Michelle and Michael Singletary DAY." They have a huge New York following of collectors, patrons and art lovers. Their work has been seen on the "Cosby Show", in Spike Lee movies, and featured in Ebony Magazine. Come early. The exhibit is family friendly and features a 7 foot painting tribute to Michael Jackson.

Parish Gallery is proud to present the artworks of Michelle & Michael Singletary in an exhibition entitled, "Music, Dance, and Michael Jackson". This show will open with a reception from 6:00 8:00 pm on Friday, March 19th and will run through April 13, 2010. Their exhibition is dedicated to Michelle¹s father, Richard S. Nero, Sr. who recently passed.

PARISH GALLERY-GEORTGETOWN

1054 31ST STREET, NW

WASHINGTON, DC

202-944-2310

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For permission to reproduce go to: www.blackartistsofdc.com

An evening with artist MICHAEL PLATT

2010-03-05T16:30:00.000-08:00

Hoop Jumper #6, pigment print on canvas, 60" x 38"

DC artist Michael Platt is widely recognized for his fusion of digital and conventional photography, drawing, and printmaking as a means to explore/expose the human condition - in particular, the history and experiences of African and African Diaspora culture.

Platt has recieved numerous grants from the DC Commission on the Arts and Humanities and received the Mayor's Art Award for Excellence in the Visual Arts in 1999. He has public collections in many renowned institutions, including Corcoran Gallery of Art, Smithsonian American Art Museum, David C. Driskell Center at the University of Maryland, Yale University Art Gallery, Hampton University Museum, and Schomburg Center for Research in Black Culture. In Abandoned Places, an exhibit of new works by the artist, runs through March 20.

Saturday March 6, 2020
reception at 4:00 pm
conversation with artist at 5:00 pm

INTERNATIONAL VISIONS THE GALLERY|

2629 Connecticut Ave NW Washington, DC 20008

gallery hours. wed-sat, 11am-6pm or by appointment | t. 202 234 5112
www.inter-visions.com

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For permission to reproduce contact: wwww.blackartistsofdc.com

Check this out! "A Man" an Installation by Alanzo Robles-Gordon at University of District of Columbia

2010-03-05T16:21:00.001-08:00

BADC Critique Sunday Feb 21, 4-6pm @ Howard University Our Featured Artist will be Dwight E. Tyler

2010-02-20T21:12:00.000-08:00

Artist Critique-Bring your art work, some food, your ideas and spirit!

Featured BADC Artist:

Dwight E. Tyler will be sharing some of his latest works with the group and then leading the remaining of the critique. Join us!

BADC is looking for other BADC members and guest curators to be featured during the critiques. If you are interested please send me an email at aroblesgordon@yahoo.com to be considered or recommend someone else.

Blessings and see you tomorrow!

Aroblesgordon

Dwight E.Tyler - Biography

Dwight E. Tyler was born in 1947 in Washington, D.C. At a very early age
he remembers painting a mural with fellow classmates at Smothers Elementary
School, thus beginning his advocation as an artist. He also remembers the
influence his father had on him as a photographer. William B. Tyler produced a
major body of family photographs spanning three generations. In high school,
Mr. Tyler studied art under the tutelage of Malkia Roberts who made an in
measurable impression on his life. After high school he was drafted and served
in the U.S. Army during the Viet Nam war for two years at Ft. Riley, Kansas (1966-1968).
Here is where he began his higher education taking art classes at night from Kansas State University. Returning home with the G.I. bill under his belt, Mr. Tyler continued his studies at Montgomery College and Howard University, graduating with degrees in Fine Art (1972) and Fine Art / Education (1974). He taught art and photography in the D.C. Public School System for five years (1974-1979). He has also professionally worked as a photographer, shooting numerous projects from the installation of an electrical push button system for the New York City Transit Authority, and the building of a train storage facility in New York and for Washington Metropolitan Transit Authority in Washington, D.C. In addition, Mr. Tyler also documented the demolition of an Army Corps of Engineers Super Fund Site - Glass Factory. Other contracted work included church groups, port folios, wedding photography, portraits and
commissions just to name a few.

Mr. Tyler's art work has been seen for many years in and around the Washington
Metropolitan area and beyond. In 1973 he was awarded a Special Talent Scholarship
from Howard University, studying under such artist as Lois Jones, Al Smith, Jarvis
Grant, Frank Smith, Winston Kennedy and other notable artists and art educators.
Other influences are Ed Love, Winnie Owens Hart, Sharon Farmer, Jeff Donaldson
and Michael Platt. In 1980 his work was featured in an article in the Washington Post.
In 1983 he had two photographs to be chosen by the National Portrait Gallery and the
American Museum of Art for inclusion in the Highlights of the Year Exhibition held at the Martin Luther King Jr. Memorial Library. in 1985 he was awarded First Place in
the 3rd Annual Rock Creek Foliage Day Photography Contest. In 1990 Mr. Tyler,
after serving on the Board of Directors for four years, was elected to the position of
Chairman of the Washington Center for Photography, serving for one year. In 1994
three White House Staff Photographers selected Mr. Tyler to participate in the
prestigious "Ellipse Photography Showcase 1994" exhibition. The night of the
opening, a local Virginia film crew from the TV show "City Line" interviewed the artist.

Held memberships in Creative Image, Friends of Photography, Exposure, W.D. Printmakers, National Conference of Artist, Washington Center for Photography. Currently, Black Artist of D.C. and his own Chalkdust Studio. While primarily known for his photography, his media also includes oil and acrylic paint, pen & ink, pastels and wood sculpture.

Exhibitions:

The Graham Collection - Black Artist of D.C. - "Hidden Treasures" 2006
Washington, D.C.

Montpelier Cultural Arts Center - "Laurel Art Guild's 32nd Annual Open
Laurel, Maryland Juried Art Exhibition" 2001

Art-O-Matic 2000
Washington, D.C.

Northern Virginia Community College - "Big Stuff on Paper" 1999
Alexandria, Virginia Campus

Northern Virginia Community College - "Celebrating 25 Years of Printmaking
Annandale, Virginia Campus W.D. Printmaking Work Shop" 1997

Willow Street Gallery - "Prints, Photographs and Drawings" 1995
Takoma Park, Maryland

Ellipse Arts Center - "Ellipse Photography Showcase 1994" 1994
Arlington, Virginia

All content © 2007 Black Artists of DC all rights reserved.
For permission to reproduce contact: editor@blackartistsofdc.org

Gallery Serengiti Presents: Annual Women in Fine Arts Exhibittion

2010-02-19T21:12:00.000-08:00

Greetings!

Join us on the evening of March 6, 2010 for the opening of our annual Women In Fine Arts exhibition. This year's exhibit will feature the canvas works of

*Gwendolyn Aqui-Brooks
*Laura Benson
*Elsa Gebreyesus
*Sharon Tucker
*Michele Lucas-Foster, and the wearable art of
*Adrene Bracey.

The artists will be in attendance to present and discuss their works. Bring your questions, and bring a friend!

RSVP for the event by clicking the link below. Registration closes soon-- don't miss out on the year's first exhibit!

Where:
Gallery Serengeti
7919 Central Ave
Capitol Heights, MD 20743

Register Now

Registering for our events helps us to prepare seating and refreshments for each of our guests. If you will be accompanied by a friend but do not yet know their name, simply add a "+1" behind your name in the registration block. Thank you for helping us make this event a successful one!

Sincerely,

Wisson West
Gallery Serengeti
art@galleryserengeti.com
301.808.6987

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Reclaiming Those Negative Images: Mixed Media Reflections Exhibit at The Corner Store Gallery

2010-02-19T12:57:00.000-08:00

Amber Robles-Gordon's "Cosmic Black 2" is one of the works on display at the Corner Store Gallery"

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Reclaiming Those Negative Images
Feb. 16, 2010
By Kristin Coyner
Roll Call Staff

Oftentimes, there’s more talent under our noses than we realize. That’s certainly true when it comes to “Mixed Media Reflections,” a new gallery at the Corner Store, a multiuse arts space at 900 South Carolina Ave. SE.

Alec Simpson and Tray Patterson, both Washington artists, are acting co-curators for the gallery. Simpson, who often deals in abstract art, is one of 12 Washington-area African-American artists whose works are on display.

The idea for the show started rather simply, over a meal between Patterson and Simpson.

“We just got together over lunch one day and decided to put on a show last fall,” Simpson said.

In light of Simpson’s own success last year with a one-man show at the Corner Store — Simpson sold all his small works in “Flashback/Fast Forward” — it followed that the planners focused on small works. “In view of what people were saying about the economy, we just thought that maybe we’d stick with that concept,” Simpson said.

All works at the gallery are on sale for $240 to $1,000.

“We didn’t have any idea how many artists there would be in it, how many pieces there were going to be, how big they were going to be, but we did know that we didn’t want them to be priced out of the market,” Simpson said. With the theme of Black History Month, the mixed media motif pulls everything together.

Stepping into the front room of the Corner Store, where the works are on display, is a treat. The front space is warm and beautiful, with colored walls and exposed brick. The artists’ works are accentuated by the lack of a modern white-walled space.

As for the works, some pieces use found objects, others use silk, some are on ceramic and still others are on paper. One artist, Alonzo Davis, even uses bamboo poles and fabrics.

The show is a mixture of materials and artistic styles, but the works manage to tie to the theme of Black History Month in a compelling way. All the artists in some way touch on the African diaspora, from clear visual images of brutality to parodies of mockery of black personhood to abstract works that offer the chance to create new meaning.

Works by Aziza Gibson Hunter, “Prayers to Haiti,” were a late addition to the show. Gibson Hunter composed a series that incorporates elements of African cloth and other found objects, including Haitian money, to offer homage to the small island nation devastated by an earthquake a month ago. Gibson Hunter intends to donate all proceeds to Doctors Without Borders.

One wall in particular seems to deal most directly with ancestral issues and imagery, which are most readily visualized through Anne Bouie’s “Ancestry 5,” “Ancestry 6” and “Ancestry 8.” Bouie incorporates Aunt Jemima and Uncle Tom figures but creates new meaning with the images.

And that, to Simpson, underscores a driving theme of the entire show. “It’s a matter of transformation, transforming it into something different and new,” he said. “It’s about seeing new things in what wasn’t necessarily good.”

Patterson added: “It’s also reclaiming it. Reclaiming a negative stereotype that was out there to turn it.”

The breadth of artistic techniques that individual artists have perfected is another striking aspect of the show. For example, artist Juliette Madison uses mixed media clay pieces by transferring images onto clay using ink that she created.

Madison’s “Lord Why” displays the technique with a veritable gut punch. The work shows the archival photograph of a lynched woman who, along with her son, was accused of theft. The significance of the story is made clear with the phrase “Lord why is my seed in the wind?” emblazoned on top of the image.

“African-American artists don’t feel backed into a corner,” Simpson said. “They create and let the chips fall where they may. There’s an authenticity to what you see.”

The exhibit, which opened Feb. 5, will run until the 28th. The Corner Store doubles as an art space and home to Kris Swanson, a sculptor who for the past eight years has welcomed any variety of art events into her home, including author readings, CD release parties and theatrical performances.

Because the space functions as a home, the Corner Store isn’t open for regular hours. However, Swanson makes appointments at webmaster@cornerstorearts.org or 202-544-5807.

The Corner Store Gallery

900 South Carolina Avenue, SE

Washington, DC 20003

(202) 544-5807

www.cornerstorearts.org

Metro: Within 2 blocks of the Eastern Market Station

Orange and Blue Lines

2010 © Roll Call Inc. All rights reserved.

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Blacks Artists of DC 2010 Meeting Schedule

2010-02-11T21:44:00.000-08:00

Location:

Howard University Fine Arts Annex
2467 Sherman Ave NW Wash DC

Time: 4-6 pm

Month Date Meeting

Sunday January 17 BUSINESS
Sunday February 21 CRITIQUE
Sunday March 21 BUSINESS
Sunday April 18 CRITIQUE
Sunday May 16 BUSINESS
Sunday June 20 CRITIQUE
Sunday July 18 BUSINESS
Sunday August 15 CRITIQUE
Sunday September 19 BUSINESS
Sunday October 17 CRITIQUE
Sunday November 21 BUSINESS
Sunday December 19 CRITIQUE

All content © 2007 Black Artists of DC all rights reserved.
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African Textile Design Classes: Learn To Decorate Silk Scarves, Tote-bags, and More ...

2010-02-09T10:15:00.000-08:00

Black Artists of DC and District of Columbia Arts Center Presents ...

2009-12-24T00:03:00.001-08:00

Black Artists of DC and the DC Arts Center Present: Black
We want to reveal Black, as it has never been seen before.
Type: Music/Arts - Exhibit
Start Time: Friday, November 20, 2009 at 2:00pm
End Time: Sunday, January 10, 2010 at 7:00pm
Location: DC Arts Center
Street: 2438 18th St. NW
City/Town: Washington, DC
View Map

Description .Opening Reception: Friday, November 20, 7:00 pm-9:00 pm
Artists Talks/Closing Reception: Sunday, January 10, 5:00 pm-7:00 pm

Jurors: Renee Stout, Blake Kimbrough, and Marvin Bowser
Curator: Amber Robles-Gordon
Co-Curator: Daniel T. Brooking
Judges: Teresia Bush and Eugene R. Vango

Black asks artists to think introspectively about the emotional and theoretical, the spiritual and cultural, the intellectual and physical aspects of their personal perceptions of blackness. Each artist's objective was to move beyond black as an absence of color and into the predominance of black as a physical and conceptual part of their creations. Artists were able to claim, adorn, redefine and enfold the black experience in and throughout their work. Audiences will be able to relish in black: it's elegance, depth, and sensation of infinity.

Featured Artists:

Valentine Andaya Akili Ron Anderson, Cedric Baker, Deidra Bell, Anne Bouie, Daniel T. Brooking, James Brown, Jr., Adjoa Burrowes, Sonya Clark, John Cooper, T.H. Gomillion, Amber Robles-Gordon, Kristen Hayes, Claudia Gibson-Hunter, Gloria C. Kirk, Serinity Knight, Viola Leak, Jacqueline Lee, Harlee Little, Bruce McNeil, Arcmanoro Niles, Michael Platt, James A. Porter, Alec Simpson, Stanley Squirewell, Willard Taylor, Carlton Wilkinson, Anne Marie Williams and Prelli Williams.

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For permission to reproduce contact: www.blackartistsofdc.com

Celebrating 50 Years of Fine Artists and Art

2009-09-17T22:24:00.000-07:00

Washington DC area chapter (DCNCA) celebrates the 50th Anniversary of The National Conference of Artists (NCA)

The organization is the first National Volunteer and Professional organization in continued existence founded in March 1959 started by Dr. Margaret Burroughs, devoted to the creation promotion and education of art by African American fine artists. NCA artists membership consist of all levels of fine arts, masters, emerging and beginners, whose art and history have made significant contributions to national and international art in history.

This exhibition will include the following artists:

Ana Maria Allen, Kwabena Ampofo-Anti, Daniel T. Brooking, Gloria A. Bradley, Dr. Margaret T. Burroughs, Dr. Floyd Coleman, Dr. David C. Driskell, Dr. Sandra Epps, Claudia “Aziza Gibson-Hunter, Margo Humphrey, Larry B. Joseph, Gloria C. Kirk, Serenity Knight, E. J. Montgomery, F. Magruder Murry, Bruce McNeil, Norman Parish, Donte Player, Rachel Pope, Amber Robles-Gordon, Malia Kai Salaam-Steeple, Emma Smith, Frank Smith, George “Shoman” Smith, Willard Taylor, Derrek, Vaughn

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Ellington Gallery A Musuem Studies Exhibition ---RESILENCE--

2009-08-31T19:24:00.000-07:00

BADC Photographers Featured in Port of Harlem

2009-08-25T21:53:00.000-07:00

Camille Moseley-Pasley
Bruce McNeil
Jason Miccolo Johnson

http://www.portofharlem.net/index.html

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Black Artists of DC: “Black” Exhibit Prospectus

2009-06-22T12:29:00.000-07:00

Produced by: Black Artists of DC
Sponsors: Black Artists of DC & District of Columbia Arts Center

Location: District of Columbia Arts Center
2438 18th NW
Washington, D.C. 20009
http://www.dcartscenter.org/

Juried Exhibit / Judges: To be announced

Open to all Media

Submission Fee:

BADC Members: $ 30 US dollars for up to 4 images (non-refundable fee)
Non-Members: $ 45 US dollars (non-refundable fee)

Dates of Exhibit: Friday November 20, 2009 – Sunday January 10, 2010
Submission Deadline: Monday September 14, 2009

Exhibit Description:

Reach deep into the emotional, theoretical, spiritual, cultural intellectual or physical aspects of blackness. The objective is not the absence of colors; it’s the predominance and use of the color black in your creations.

Relish in the concept and color of black …its elegance, depth, dizzying sensation of infinity. Enfold us in your black experiences. Stretch the definition, claim it, and adorn it. Let us reveal Black, as it has never been seen before.

Notification of Selected Artists: Artists will be notified of acceptance or non-acceptance no later then Monday October 5, 2009. Notification will be made by email and/or by phone.

Delivery of work to DCAC Gallery: Wednesday, November 18, 2009 10:00 am-7:00 pm
Distribution of Invitations: To Be Announced

Opening Reception: Friday November 20, 2009 7:00 pm-9:00 pm
Artists Talks/Closing Reception: Sunday January 10, 2010 5:00 pm-7:00 pm

Deadline for picking up work: Sunday January 10, 2010 after 7:00 pm-8:00pm
and/or Monday January 11, 2010 12:00-3:00 pm. Any artwork not picked up by Monday
January 11, 2010 will be charged a fee of $30.00 per day thereafter.

Submission Guidelines:

Artists may submit up to 4 digital JPEG images, at 300 DPI. For sculptural or three-dimensional pieces, 2 images may be submitted for each work. The images must be submitted on a CD, in JPEG format only. No files larger than 1MB. Image files on the CD should be titled as follows: last name first, first name, title and number corresponding to the Submission Form. The same information must also be written on the Submission Form, including the price. Artwork submitted must be no larger than: 2D and 3D – 30"x40". Please do not send originals. CDs will only be returned if a self-addressed stamped envelope (SASE) with sufficient postage is included.

Payment:

Entry fee can be paid by cash, check or money order payable in US dollars. Please make check or money orders payable to Black Artists of DC.
Please note on check BADC: “Black” Exhibit.

Please send Payment, CD or Photos to:

BADC: Black Artists of DC: “Black” Exhibit

C/O Amber Robles-Gordon
Address: 2321 Good Hope Crt. S.E. Apt. 203
Washington, D.C. 20020
Contact Number: 240-417-4888
Email Address: aroblesgordon@yahoo.com

Terms: Works in the show do not have to be for sale.
Sales: Sale price are determined by the artist.

Insurance: BADC provides damage and theft insurance for works in the District of Columbia Arts Center gallery through the duration of the exhibit from Friday, November 20, 2009 – Sunday, January 10, 2010.

Frames and Mounting: must be of fine quality, consistent with painting/photographs, with attached wire. For sculpture or three-dimensional, pedestal must be provided by the artist.

Shipping and Handling: The artist is responsible for all costs of shipping and handling of their artwork. We suggest the artist insure their artwork through the shipping company. All shipped artwork must include a return shipping label enclosed in the packaging.

*We reserve the right to use submitted images and information for inclusion in the exhibition, catalogs and/or other promotional endeavors to publicize the exhibit.

SUBMISSION FORM The” Black” Exhibit, November 20, 2009 to January 10, 2010
Artist and Contact Info Name:_________________________________________________¬_
Address:_____________________________________________________________________
Email Address: _______________________________________________________________
Phone: (Day) ___________________________ Phone: (Evening)_______________________

FOR 3D ART-PLEASE ADD DEPT DIMENSION
Image # 1 Title: _____________________________________________________________
Medium: ____________________________________________________________________
Framed Dimensions: Width________ Height ________Depth________ Price $_________

Image # 2 Title: _____________________________________________________________
Medium: ____________________________________________________________________
Framed Dimensions: Width________ Height ________Depth________ Price $_________

Image # 3 Title: _____________________________________________________________
Medium: ____________________________________________________________________
Framed Dimensions: Width________ Height ________Depth________ Price $_________

Image # 4 Title: _____________________________________________________________
Medium: ____________________________________________________________________
Framed Dimensions: Width________ Height ________Depth________ Price $_________

[ ] BADC Member [ ] Non-member Fee enclosed $____________________________

Artist's Signature_____________________________________________Date_____________

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For permission to reproduce contact: editor@blackartistsofdc.org

Black Artists of DC 2009 Meetings Schedule

2009-04-23T14:06:00.000-07:00

Meeting Locations

BADC Business Meetings:

The Howard University Annex Graduate Sculpture Studio
2467 Sherman NW
Washington DC 20059

Time: 4-6:00 pm

BADC Critiques:

Pyramid Atlantic
8230 Georgia Avenue
Silver Spring, MD 20910
(301) 608-9101
http://www.pyramidatlanticartcenter.org/

Time: 4-6:00 pm

APRIL 19 Business The Howard University Annex

MAY 17 Critique PYRAMID ATLANTIC

JUNE 21 Business The Howard University Annex

JULY 19 Critique PYRAMID ATLANTIC

AUGUST 16 Business The Howard University Annex

SEPTEMBER 20 Critique PYRAMID ATLANTIC

OCTOBER 18 Business The Howard University Annex

NOVEMBER 15 Critique PYRAMID ATLANTIC

DECEMBER 20 Business The Howard University Annex

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8th Biannual Art In The Garden Spring Show

2009-04-05T19:39:00.000-07:00

We Cordially Invite You To Join Us At The
8th Biannual Art In The Garden Spring Show

Saturday, May 2, 2009 12:00 -6:00 PM
Sunday, May 3, 2009 1:00-6:00 PM

3218 Chestnut Street, NE
Washington, DC

Featured Artists: Viola Leak, John P. Beckley, Hedrick Mitchell, T.H. Gomillion, Hampton Olfus, Al Burts, Amber Robles-Gordon, Michele Foster-Lucas, Francine Haskins, Roland Richardson, Donna C. Holland, Ann Marie Evans and Henry Elliott

Contact- T.H. Gomillion For directions
Email- art.of.gomillion@erols.com
202-269 2757

Music By The Keyboard Wizard “MYKL GORMLEY “ Of MYKLMUSIC Products

All content © 2007 Black Artists of DC all rights reserved.
For permission to reproduce contact: editor@blackartistsofdc.org

Black Migrations Report

2009-03-29T22:08:00.000-07:00

6th Annual Midwest Black History Month Conference, February 27, 2009
Black Migrations: Movements in Context, Community, and Faith explores both historical and contemporary migrations of people of African descent. The conference also commemorated the legacy of Katherine Dunham. Mrs. Dunham was an anthropologist, activist and choreographer. Her innovative concepts allowed her to develop dance techniques combining African and Caribbean styles. Her passion, ingenuity and teachings molded both African American and modern dance.

BADC was invited to exhibit at Luther College in Decorah, Iowa. The idea for the show was born through a meeting between David Kamm, Luther College gallery coordinator, Harlee Little and TH Gomillion at ArtDC in 2007. On Friday, March 26, 2009 it was my great fortune to attend the 6th Annual Midwest Black History Month Conference with Amber Robles-Gordon. Bundled against the cold, we set out for Decorah, Iowa. The first leg of travel, we were on separate flights, meeting up in Chicago. In Chicago, we had to board a small plane; according to Amber, “It was one of the smallest planes, I‘ve ever seen”. So much so that I had to duck down to get on board and couldn’t stand up inside. The flight was a little rocky because we were just ahead of a snow storm. In the previous weeks, Decorah had experienced temperatures of 30 degrees below freezing. We were quite surprised, yet very pleased, when we arrived in Rochester, Minnesota to find a rather spring-like day.

We were picked up by a Palestinian student named Ahmed who drove us to Luther College, about 60 miles away. The school is home to a fair number of international students. The forty-five minute drive probably took an hour due to the pouring down snow and sleet. Until that day, Amber had never seen snow and lighting at the same time. We were praying that we didn’t get snowed in. The Luther College campus is the size of a small town. It’s an undergraduate liberal arts program, with about 2,500 students and offering over 60 different majors. The campus sits on 175 acres with an additional 825 acres attached. We met David Kamm, gallery coordinator
(http://galleries.luther.edu/Archives/2007-2008/Kamm/kamm.html)and Sheila Radford-Hill, head of the Diversity department and author of Further to Fly: Black Women & the Politics of Empowerment (http://www.upress.umn.edu/Books/R/radford-hill_further.html).

After lunch, provided by Luther College, we returned to our rooms at the Speratti Guest House to relax a bit before attending the reception given in our honor. At the reception we met other faculty and students. We were treated to a one-woman play written and performed by student Julia Mann. The one-act play, Mixed Reality, explored being a person of mixed race. It was quite well done. She had mounted the show and has been touring locally. The young lady welcomed a critique and Amber and I gave her some positive feedback. Later that evening, Amber and I had dinner and a lively discussion in town with a faculty member. From the very beginning, we received a warm welcome.

The next day, after breakfast we attended the conference. The schedule is as follows:

9:15-10:20 a.m. Panel 1: Black Migrations Historical Roots

10:30-10:50 a.m. Center for Faith and Life, Speaker Robert J. Larson, Professor of Theatre

11:00-noon Black Artists of DC Panel and Gallery Tour Amber and I gave an overview of BADC, its goals, membership and philosophy. Then, we took the audience on a 40 minute tour of the BADC exhibit. We started with Harlee’s work because the show was dedicated in memory of him. All of our works were well received and you could feel the enthusiasm in the crowd. They did not need to be prompted to ask questions. We could have talked for another hour or more.

Although we both attended the conference sessions, Amber was invaluable in representing BADC while I had two interviews with a student who wanted to know more about Washington, DC during the Civil Rights struggles of the 60’s. Julie Berg-Raymond, of Tapestry Magazine, also wanted to know more about James Brown’s work; I gave her a private tour and related how the work was created. In preparing for the gallery tour, Amber and I had collected information from each artist and prepared presentations to better represent their work.

Noon-1:15 p.m. Conference Luncheon and presentations on the Art and Science of Movements. One of the presentations was given by Sheila Radford-Hill’s daughter.

1:15-1:30 p.m. Conference Break

1:30-2:20 p.m. Faith and the Migratory Experience

2:45-3:40 p.m. Black Migration Narratives (Plenary Lecture) by Farah Jasmine Griffin,
(http://www.randomhouse.com/author/results.pperl?authorid=11121) Director of the Institute for Research in African American Studies, Professor of English and Comparative Studies, Columbia University. Her presentation was in depth and informative. She delivered it as a poet or singer with emotion, rhythm and ease.

3:45-5:00 p.m. Dance Tribute — Luther College Dance Ensemble, Musical Tribute — Luther College Jazz Orchestra. The Dance Ensemble presented an original piece influenced by the Dunham dance technique and the jazz orchestra was one of the best I’ve ever heard.

The conference was well attended, thorough, informative and non-stop! There was a high level of involvement by faculty, students and attendees. The experience was delightful. We learned so much about the Decorah and Luther College community. The students were actively involved and the faculty were genuinely engaged and committed not only to this conference but to the success of the college and the idea of diversity. At the end of the conference we had a closing reception and could relax and talk to the conference participants. If you ever have the opportunity to visit Luther…just do it!

Tapestry Magazine (February Issue), Decorah, Iowa printed Audrey Brown’s piece, Ogun’s Choice, as its cover art. Julie Berg-Raymond, of Tapestry, had interviewed Stanley Squirewell and me. Our interviews and artworks (Carbon Anomaly and Promised Land, respectively) were printed in the magazine. They also printed artwork and bio information by Amber Robles-Gordon, Ascension and Gloria C. Kirk, Looking Out. James Brown’s piece, Transference Series #3 and my interview were also printed in the Decorah Journal.

Since returning to Washington, DC, I have received a request from Professor Peter Scholl who wants to use one of my pieces as cover art for Agora; a Luther literary magazine.

The BADC artists in the Black Migration exhibit were: Deidra Bell, Daniel T. Brooking, Audrey Brown, James Brown, Jr., Anne Bouie, T.H. Gomillion, Amber Robles-Gordon, Aziza Gibson-Hunter, Gloria C. Kirk, Harlee Little, Bruce McNeil, Stan Squirewell and Eugene R. Vango.

Submitted by:
Daniel T. Brooking
Amber Robles-Gordon

March 28, 2009

All content © 2007 Black Artists of DC all rights reserved.
For permission to reproduce contact: editor@blackartistsofdc.org

Black Artists of DC Mourns the Loss of DC- based Photographer Harlee Little

2009-02-07T08:39:00.000-08:00

A native of Concord, NC, Harlee Little was born the first child of six. He displayed an early interest in photography taking pictures of buildings around the campus of Livingstone College where his father worked.

The momentous year of 1954 changed everything for young Little, baseball, baseball all the time. All time was measured in relation to baseball, at home, at school, at church, even on granddaddy's farm. It was baseball that gave Little his first experience with what W. E. B. Dubois called the duality of black life in the United States. Would his number be 24 or 7, the markings of two New York center fielders of the day?

On into high school baseball ruled the clock until his parents pointed out that playing baseball was play. It was now serious time for education and work. So serious it was. Little enrolled in Howard University almost a century after the emancipation of African slaves with aspirations of a degree in law or physics.

Photographs for an independent student newspaper in 1968 began a life in photography and a commitment to exploring the power and impact of visual communication. Photography became central element in Little's subsequent work and professional experience, including teaching, social documentation, magazine production and management, and design of communication services for federal agency initiatives.

Little has produced outstanding photographic images for use in art, commerce, education, industry, journalism, public and corporate relations since 1974. He specialized in producing images that communicate and document the ideas and ideals of advocates and educators, associations and corporations, entrepreneurs and government agencies.

The unique imagery of Little's vision has been published and displayed worldwide. Among these venues are American Heritage, Black Excellence, Black Collegian, Columbia JournalismReview, Emerge, Espana, Essence, Harper Collins Books, Jet, People, Science Magazine, Sydney MorningHerald, The Washingtonian, Time, Washington Post, Washington Times, and ABC News 20/20. His photographs are also featured in the exhibit and publication Reflections in Black, a history of black photographers 1840 to the present. Harlee Little is a founding member of the Exposure Group: African-American Photographers Association and was an active member in the Black Artists of DC.
Harlee Little died on January 1, 2009.

MEMORIAL FOR HARLEE LITTLE

Family and friends will gather to remember Harlee Little,
an outstanding human being, artist, photographer, teacher,
and friend.

Saturday February. 7,
1:00 pm

Rankin Chapel,

Sixth Street &
Howard Place, N.W.
Washington, DC 20059

Howard University campus.

Repast: Blackburn Center
2nd Floor Ballroom
Howard University
Directly After the service

(Bio above from the Exposure Group website)

All content © 2007 Black Artists of DC all rights reserved.
For permission to reproduce contact: editor@blackartistsofdc.org

Curator Discussion and Artist Talk

2009-01-11T22:40:00.000-08:00

Sunday, January 11, 2009

Time: 2-4 pm

Location: Galerie Myrtis * 2224 North Charles St., Baltimore, MD 21218

Phone: 410/235-3711

www. Galeriemyrtis.com

Join us as guest curator Ana Joa and photographer Vance Gragg provide insight on the contemporary art movement in Cuba. Originally from Cuba, Ms. Joa has served as the associate curator for Galeria Santiago and as the director of the Student Cultural Center where she assisted in the formation of the Center for Culture in Santiago De Cuba. Mr. Gragg will discuss his photographs which reveal the rich cultural and traditions of the Cuban people.

12-14-2008 BADC Business Meeting at Howard University

2008-12-31T14:25:00.000-08:00

Valerie Maynard At Morgan State University

2008-10-12T17:33:00.000-07:00

The Visual Arts Program at Morgan State University cordially invites you
to come meet & greet world renowned artist

Valerie Maynard
AT MORGAN STATE UNIVERSITY
Wednesday, October 15, 2008

11 a.m. - 2 p.m.
Lecture/Workshop in the
Carl J. Murphy Fine Arts Center
Room 319 (Students Only)

6 p.m. - 8 p.m.
Meet & Greet in the
James E. Lewis Museum of Art
(Open to the Public)

All content © 2007 Black Artists of DC all rights reserved.
For permission to reproduce contact: editor@blackartistsofdc.org

Suspicious Activities

2008-10-12T16:52:00.000-07:00

Paintings and Works on Paper
by Aziza Claudia Gibson-Hunter
curated by Michael Platt

October 17, - November 16, 2008
Opening Reception: October 17, 7-9 pm

Suspicious Activities: Depicting parallels between the real,national and international use of militarized language and the contradictions in our country's foreign and domestic conduct.

DC Arts Center
2438 18th St.. NW
Washington, DC 20009 202.462.78331 info@dcartscenler.org

All content © 2007 Black Artists of DC all rights reserved.
For permission to reproduce contact: editor@blackartistsofdc.org

Artist and Curator Daniel Brooking, Shares Thoughts on Playing with Light Exhibit

2008-10-12T10:06:00.000-07:00

The Dennis and Phillip Ratner Museum and Black Artists of DC (BADC) presents Playing with Light: Making Visions Visible.

In 2007 I curated the BADC exhibition Digital Divide at the Ratner Museum. Of all the exhibitors that year only two were asked to return; we were one of the two. For 2008, I chose the title Playing With Light because of my fascination with light and color. I asked the artists to explore the visual and philosophical aspects of light: illumination, darkness, shadow, truth, fears and dreams and to go wherever their imagination would lead. The art ranges from exquisite tapestries to masterful pen and ink, imaginative photography, colorful abstracts, thought provoking digital works and mixed media: combining classical and new art forms. The works are bold, exciting, calming, beautiful and intriguing. The artists in the exhibition are James Brown, Jr., Al Burts, Maurice Harrington, Aziza Gibson-Hunter, Gloria C. Kirk, Harlee Little, Percy Martin, Yvette Mitchell, Michael B. Platt, Eugene R.Vango and myself.

The opening reception on the 5^th, was attended by members of BADC and a very interested public. We received many favorable comments about the show. We took every opportunity to explain who we were and to ask for feedback. Artists must be able and willing to talk about their work as well as exhibit it. Stella Bernstein, the Administrative Director of the Museum, also introduced the exhibit to the audience and gave a brief history of the Museum.

BADC supports and enlivens the arts in DC and compliments the diversity of a cosmopolitan nation’s capital. Our accomplishments enhance the reputation of Black artists and Washington, DC as a nurturing environment.

For further information please call Daniel T. Brooking at (202) 255-5720 or email dtbrooking@verizon.net.

The Dennis and Phillip Ratner Museum

10001 Old Georgetown Road, near the corner of Lone Oak Drive (East) Bethesda, MD 20814

October 5-October 28, 2008

Monday thru Thursday 12:00 pm to 4:00 pm.

Sunday 10:00 am to 4:30 pm. – closed Friday and Saturday

PLAYING WITH LIGHT: Making Visions Visible

2008-10-12T09:51:00.000-07:00

PRESS RELEASE

For Immediate Release
Contact: Daniel T. Brooking
(202) 255-5720

Washington, DC - September 1, 2008

WHO: THE DENNIS AND PHILLIP RATNER MUSEUM and BLACK ARTISTS OF DC present

WHAT: PLAYING WITH LIGHT: Making Visions Visible

WHEN: October 5-October 28, 2008
Monday thru Thursday 12:00 pm to 4:00 pm.
Sunday 10:00 am to 4:30 pm.

WHERE: The Dennis and Phillip Ratner Museum
10001 Old Georgetown Road, near the corner of Lone Oak Drive (East)
Bethesda, MD 20814

The Dennis and Phillip Ratner Museum and Black Artists of DC (BADC) present Playing with Light: Making Visions Visible.

BADC artists explore the visual and philosophical aspects of light: illumination, shadow, truth, fears, and dreams, using digital art, embroidered tapestries, enhanced photography, pen and ink, acrylic paints, and mixed media. The artists in the exhibition are Daniel T. Brooking, James Brown, Jr., Al Burts, Maurice Harrington, Aziza Gibson-Hunter, Gloria C. Kirk, Harlee Little, Percy Martin, Yvette Mitchell, Michael B. Platt, and Eugene R.Vango.

The members of BADC support and enliven the arts in DC. They have exhibited at the Smithsonian Museum, local and national art galleries, and internationally in Nigeria, Ghana, France, and the Netherlands. Their members compliment the diversity of a cosmopolitan nation’s capitol.

In 2006, the works of 24 BADC members were selected and exhibited at Art Basel Miami Beach. The New York Times has called Art Basel Miami Beach “arguably the hottest trade fair in the hemisphere”. The members have expanded beyond traditional art exhibitions to on-line galleries, making art available to a worldwide audience. BADC artists have also been asked to exhibit in Art Basel Miami Beach 2008. All of BADC’s accomplishments enhance the reputation of Washington, DC as a nurturing environment for artists.

For further information please call Daniel T. Brooking at (202) 255-5720 or email dtbrooking@verizon.net.
###

All content © 2007 Black Artists of DC all rights reserved.
For permission to reproduce contact: editor@blackartistsofdc.org

BADC 8/24/2008 Business Meeting

2008-10-10T00:19:00.000-07:00

Left to Right Akili Ron Anderson, T.H. Gomillion, Alec Simpson, Cynthia Sands and Preilli Williams.

All content © 2007 Black Artists of DC all rights reserved.
For permission to reproduce contact: editor@blackartistsofdc.org

Remembering Not To Forget, BADC Exhibit Statement

2008-10-09T23:03:00.000-07:00

Duke Ellington School of the Arts September 11, 2008

We are a people who are always asked to forget. We are asked to forget our homeland, our genius, our languages, our natural beauty; the brutality of our disbursement and the various ways that it's ugliness has morphed. On this day 9-11 we can remember the cooks, janitors, doormen, the people who provided "services" for those who operate in the world of business. Remember: Remembering not to Forget is a profound title for an exhibition in a school populated by dark people in a place that salutes the gifted musician, Duke Ellington. This is also a place that held Black children orphaned by the Civil War. I am sure this building creeks and moans with it's own memories.

Remembering is and important activity for artists and for Black artists it is an act of both survival and revolt.

To refuse to forget is a powerful thing and these artists are powerful. In these works you can hear the rhythms of Ashanti, Yorba, and Congolese the whispers of Nedu Neter and Twi. You will see memories from all the continents that we have traveled to both willingly and unwillingly… our people have navigated the seas for millennia. Memories of cold places, Jim Crow, and civil rights movements and when the levees broke (I refuse to blame that on Katrina…. I remember). These works are bursting with memories for a people who stand again, and again, and again.

Young people we need you to remember. We need you to adopt our memories, to take them gently, and acknowledge their preciousness. They can give roots to your own and act as an anchor as you move through future whirlwinds. We have expressed our memories. You have cataloged, arranged and labeled them. Your work offers, documentation, classification and validation. You are presenting our memories to the public to share and share, and share. We thank you.

Claudia "Aziza" Gibson-Hunter
BADC Facilitator/ Co- Founder

Victor Ekpuk's Mural Drawing "Amsterdam Central"

2008-09-25T15:58:00.000-07:00

Dear Friends,

I have since returned to the United States after a wonderful three years stay in the Netherlands. While in the Netherlands, I participated in artistic projects and exhibitions. One of such projects was "Amsterdam Central" a mural drawing that I performed at Meneer De Wit Gallery in Amsterdam.

Please click the link to view. http://www.vmcaa.nl/victorekpuk/CheersVictor Ekpuk

visit: http://www.victorekpuk.comSkype Name: Akpanekpuk

All content © 2007 Black Artists of DC all rights reserved.
For permission to reproduce contact: editor@blackartistsofdc.org

Remembering Not To Forget

2008-09-13T21:31:00.000-07:00

FOR IMMEDIATE RELEASE
September 8, 2008
Contact: Marta Reid Stewart
202-716-1440
e-mail: mrs89us@yahoo.com

The Duke Ellington School of the Arts’ Museum Studies Department is proud to present the exhibition entitled Remembering Not To Forget, a collection of works that chronicles both the triumphs and tragedies -- the personal and political events of life’s experiences as depicted by a group of local artists.

The Black Artists of DC (BADC) was founded nine years ago to establish a network for working artists, curators and art enthusiasts. BADC members critique one another’s work, share information about residencies and grants and discuss participation in upcoming exhibits.

“Never before have we had an exhibition that could generate such compelling dialogue about the social hurdles that Americans grapple with in the United States. It is certain to generate conversations that originated in the headlines, continue in our classrooms and are visually documented in the Ellington Gallery,” said Marta Reid Stewart, Chair of the Museum Studies Department and Director of the Ellington Gallery.

“This exhibit is designed to engage and stimulate student’s learning about history and culture,” Stewart said.

The exhibit opens September 11th and runs through November 7, 2008 at Duke Ellington School of the Arts, 3500 R Street, NW 20007. An opening reception kicks-off this memorable exhibition at 5:30 p.m. until 7 p.m. Visitors will have a rare opportunity to meet such noted artists as Michael B. Platt and Claudia “ Aziza” Gibson-Hunter, a founding member of BADC. An intimate evening with the participating artists is scheduled on October 16th at 6:30 p.m. at the Ellington Gallery. Visitors will be able to ask questions about the artists’ work and processes.

"Since the restoration of our fine art gallery here Ellington, we have been excited about showcasing, not only the works of our students, but the amazing work from those
in our community. We can think of no better group to showcase than the Black Artists of DC. Their cultural and artistic expressions serve as a motivation to our students and as a reminder to all of our rich culture and heritage. This is truly an exhibit that you should remember not to forget! We hope that the broader DC community supports this exhibit and stops by."

During this historic year of firsts, Remembering Not To Forget, features the work of 35 artists and showcases more than 60 art pieces that include paintings, sculpture, ceramics, photography, assemblage and fabric collage. This will be the first time that the prestigious Black Artists of the District of Columbia has exhibited in the Ellington Gallery.Remembering Not To Forget, documents the art, history and esthetic culture of the 21st Century. A must see.

All content © 2007 Black Artists of DC all rights reserved.
For permission to reproduce contact: editor@blackartistsofdc.org

Obama for America Campaign

2008-09-13T21:13:00.000-07:00

OPEN STUDIO ART SALE

40 celebrated artists from the DC/Baltimore area are opening their studios to the public for an “Art for Obama” event to raise money.

Sunday September 28, 2008
11:00 am - 5:00 pm.

20% OF SALES PROCEEDS WILL BE DONATED TO THE OBAMA FOR AMERICA CAMPAIGN IN THE NAME OF THE PURCHASER. DONATION BY CHECK ONLY.

Throughout history, Art has been used as a vehicle for social and political change. We want to add our voices to a "change we can believe in." The event offers art lovers and collectors the unique opportunity to visit and view the works of various artists in their own studios. The public will be able to purchase original paintings, prints, wearable art, textiles, jewelry, ceramics, photography, sculpture and much more while supporting the campaign.

TO LEARN ABOUT EACH ARTIST AND LOCATE THEIR STUDIO, GO TO

http://tinyurl.com/badc-art-for-obama

Artists

Akili Ron Anderson, Cynthia Sands, Amber Robles-Gordon, Bruce McNeil, Ben Belghachi, Aziza Gibson-Hunter, Chinedu Osuchukwu, Julee, Daniel Brookings, Gomillion, Harlee Little, James Brown, Audrey Brown, Jeffrey McCauley, John Henderson, LaShell Rivers, Marc Williams, Michael Platt, Prelli Tony Williams, Prudence Bond, Rosetta DeBerardinis, Stan Squirewell, Virginia Greene, Anne Bouie, Phoebe Farris, Francine Haskins, Josh Isaac, Gloria Kirk, Juliette Madison, Gwendolyn Aqui, Christopher Randolph, Mekbib Gebertsadik, Darnella Davis, James Roland, Carol Porter, Michelle Rene Cobb, Ann Williams, Beverly Paul, Jonnie Bess, Terry DeBardeladen, Trudy Trotz, Oluwatoyin Tella-Swan

BADC Art for Obama/ Open Studio Sale
Sunday September 28, 2008

Sculpture Studio 2467 Sherman Ave NW WDC 20056
Akili Ron Anderson, akili@jiii.com (202) 246-6021
Jonny Bess mailto:johnnie_ bess@yahoo. com>,(540) 846-2150
Daniel Brookings brazilprincessa@ yahoo.com (202) 255-5720
Mekbib Gebertsadik mailto:mekbibg@ hotmail.com>,(703)606-1388
Amber Robles-Gordon, amberoblesgordon@ aol.com (240) 417-4888
Jeffery McCauley mccauley07@gmail. com (704)293-6045
Beverly Paul mailto:bevpaulart@ aol.com, (915) 526-3026
Michael Platt michaelbplatt@ verizon.net (202) 332-6917
LaShell Rivers eye.dream@hotmail. com (202)232-0744
"Trudy Trotz" ,
Oluwatoyin Tella-Swan gmail.com>,
Prelli Tony Williams prod1artist@ yahoo.com (202) 581-9481

French Street Textile Studio 932 French Street NW WDC 20001
James Brown needlejme@yahoo. com (202) 232-7725
Audrey Brown alawasonb@yahoo. com (202) 232-7725
James Roland, 932 French Street NW WDC (202) 232-7725

Farris Studio 3519 16th Street Studio WDC NW 20010
Darnella Davis ddavis@cosmoscorp. com (202) 829-2646
Phoebe Farris phoebe@purdue. edu (202) 328- 1002

Gibson-Hunter Studio 4221 Argyle Terrace NW WDC 20011
Terry Debardelaben terrydebardelaben@ yahoo.com, (202) 986-9791
Prudence Bonds, prudencebonds@ gmail.com (202) 258-2728
Aziza Claudia Gibson-Hunter ghunterstudio@ yahoo.com (202) 723-9409
Josh Isaac greatisc@aol. com (301) 350-4108
Ajani Thomas
Ann Williams annmarie87@verizon. net (703) 758-8655

Studio Aqui 6001 66th Ave. Suite 201Riverdale MD 20737
Gwendolyn Aqui (301) 459-8038

Gomillion Studio 3218 Chestnut St. N.E WDC 20018
Gomillion freegomillion@ yahoo.com (202) 269-2757
Andre Greene greenev60@yahoo. com
Virginia Greene greenev60@yahoo. com

School 33 Art Center Studio1427 Light Street Studio #201
Baltimore MD 21230
Rosetta DeBerardinis www.RosettaDeBerardinis.com (202) 669-8436

Julee Designs Studio 3205 16th St, NE WDC 20018
Julee Dickerson-Thompson tjulee1670@aol. com 202)-269-3067
Francene Haskins (202) 355-5507
Christopher Randolph (917) 797-1960

Cynthia Sands Studio 405 Aspen St. NW WDC 20012
Anne Marie Evans a.evans681@verizon. net (202) 726-2821
Carol Porter, carolporterart@ gmail.com (301) 565-2599
Cynthia Sands cynthiasands@ hotmail.com (202) 726-2821

Metro Arts Center/ Harlee Little Studio 6925 Willow St. NW 20012
Gloria Kirk gkirk1234@aol. com (202) 882-1084
Harlee Little harlee.little@ gmail.com (202) 321-9088
Shoccara Marcus (202)321-9088
Bruce Mc Neil brucemcnil99@ yahoo.com (202) 257-4490
Stan Squirewell ssquirewell@ hotmail.com (202) 390-4151

Belghachi Studio 3541 16th street NWW DC 20010
Ben Belghachi mobenbel@aol. com (202) 431-4537

Chinedu Felix Osuchukwu Studio 1272 Oates St NE WDC 20002
Chinedu Felix Osuchukwu brendells@hotmail. com (202)486-5456
Marc William Bryant dcmarcb@aol. com (202) 486-5456

Michelle Renee Cobb Studio 7816 Morningside Drive NW 20012
Michelle Renee Cobb mishcob@comcast. net (202) 372-7354

Ann Bouie Studio 1201 Columbia Rd. NW WDC 20059
Anne Bouie abouie1201@aol. com 202.652.0361

Kanika Kulture Studio 5220 Kansas Ave. NW WDC 20011
Juliette Madison info@kanikakulture. net (202)-421-5532

Need a map to get there????

http://tinyurl. com/badc- art-for-obama

Yep, We Be Baaadddd!

Frank Smith at the Historical Society of Washington, D.C.

2008-09-13T20:39:00.000-07:00

Exhibition: Frank Smith: 40 years Since the Riots

June 1, 2008 - December 15, 2008

Frank Smith came of age during the height of the Black Arts Movement in the late ‘60s. One of the early members of AFRICOBRA (African Commune of Bad Relevant Artists), Smith sought perfection in the creation of a unique African American aesthetic that pays homage to cultural traditions, specifically of rhythm and quilt making, yet transcends artistic styles to create his own. Just like jazz, and the transformative ‘60s when Smith began his career, he improvises, moves fast and demands freedom – freedom of color, freedom of space. Many of his works are large pieces, assemblages of several works, or alternatively, pieces of one large work and layered with vibrant strokes and fabrics of color.

Historical Society of Washington, D.C.

801 K Street, NW

at Mount Vernon Square

Washington, DC 20001

202.383.1850

info@HistoryDC.org

http://www.historydc.org/location/exhibits.asp

Validate Yourself

2008-02-11T07:34:00.000-08:00

By Adjoa Burrowes

The Importance of Documentation for Artists

I recently interviewed an important community resource -- George McKinley Martin, Director of the Black Art Project. Our interview centered on the issue of raising the visibility of artists and their works for generations to come. I plan to publish George-McKinley Martin’s responses to each of the ten questions I posed in a series on this blog weekly.

About George McKinley Martin

George McKinley Martin, longtime resident of the Washington Metropolitan area, attended Howard University as both an undergraduate and graduate student. For approximately eleven years he has been the Chief of the Art Division of the District of Columbia Public Library and very involved with art related programs, projects, and organizations across the city. He has a personal interest in the welfare and promotion of Black art/artists as demonstrated by his committed desire in mentoring young artists and art collectors; collecting Black art and publications relating to Black art/artists; curating art exhibitions; and publishing the annual Guide to Black Art Exhibitions. He is a member of several national and local art related professional and special interest art-related organizations.

George is the Director of the Black Art Project, an evolving umbrella for a number of activities driven by the need to raise the visibility of the work of black artists through documentation, education, and activism. Over the past 5 years, the Black Art Project has published the annual Guide to Black Art Exhibitions (ISSN 1559-5129). A second major project of the organization is an annotated bibliography, focusing on exhibition catalogues of black artists from 1975 to the present. Thus far, 300 plus catalogues have been annotated for a forthcoming publication. Finally, the Black Art Project has an extensive collection of print and non-print material documenting the work of black art/artists, including books, exhibition catalogues, exhibition announcement cards, press releases, and other ephemera.

Question 1: Why is it important for Black artists to document their work?

The process of documentation demonstrates, in a tangible way, that these Black artists existed, so documentation becomes an important issue. In addition to their art work, the documentation, in its many formats, gives us clues as to who these artists were as a group or as individuals. What were their passions, their feelings, their messages that they wanted to convey through their creative endeavors? The sum total of documents will answer who am I as an artist and what role have I played on the American art scene? How will my work be interpreted or understood in the larger scheme of fine art on the national or even the international scene? Pieces that document an artist’s existence, in addition to the artwork, give that art an added and deeper meaning. Documentation allows us to put the artist and his work in focus and into some meaningful context. Furthermore, documents relating to a piece of art gives that art added meaning.

Some documentation validates…yes, this artist existed because there is some recorded evidence. This recorded evidence can be in an oral history; journal entries or thoughts written on a piece of paper or extended writings by the artist; letters between the artist and other artists, family and friends; 21^st century communications through emails, blogs, web postings, web sites; exhibition catalogs, exhibition announcements, business and personal letters, sketchbooks, clippings, photographs, and posters. To document is key to one’s future existence in posterity; it affords a record. Hence, the visual artist can be given his/her just do in the larger canon of American culture or even a world culture. Documentation of one’s work is more of an assurance that its value will be recognized and not by happenstance stumbled upon as time passes. Even to a greater extent, documentation assures that the visual arts are a cornerstone of cultural development and it assures that those art historians, critics, connoisseurs, collectors, and the general public will have enough information readily available to write about, discuss, understand and then appreciate the importance of the visual arts in the overall scheme of our black culture.

A classic example of documentation comes to mind, regarding Jacob Lawrence from 65 years ago, when I think of a couple of letters that I read from the Archives of American Art (Smithsonian Institution). The first letter was written in 1941 from Jacob Lawrence to Edith Halpert of the Downtown Gallery (New York) in which Lawrence states that he wants $2000.00 for the 60 panels in the “Migration Series.” Further, he states that he wants to sell the series as a set because the entire story was conceived and told in the 60 paintings and to sell individual pieces would make it an incomplete story. In a letter dated March of 1942, Edith Halpert expresses that she has an interested buyer (Phillips Memorial Gallery, Washington, DC) who will pay $1000.00 to match the $1000.00 that the Museum of Modern Art (New York) is paying for its half of the series. Through these letters, as documentation, we know who made the purchases, how mach they sold for, an approximate date of the sell, the gallery making the sell, the artist’s sentiments about how he wanted the panels to be sold, etc. From these letters, there is a better understanding, from the perspective of a young Jacob Lawrence, of how he wanted his art sold. The tone is readily noticed in the letter he wrote.

BADC Artists Paint the Town RED for HIV/AIDS Prevention

2007-12-18T10:16:00.000-08:00

by Sharon J. Burton

The art charity exhibition, RED was kicked off on World AIDS Day on Saturday, December 1, 2007 at Peace and A Cup of Joe in Baltimore, Maryland. The afternoon was filled with artwork, artists and guests who reflected their commitment for the fight against HIV/AIDS. The exhibition, which is scheduled through January 2008, was curated and co-sponsored by Michelle d. Parrish of ThickArt Collaborative and Sharon J. Burton of Authentic Art Consulting and a member of BADC.
"The Thick Art Collaborative was inspired to produce this exhibit by the work of photographer Antonio Paterniti whose travels to Africa and abroad to work in HIV/AIDS stricken communities compelled us to take a deeper look at what art reveals about our life and times," said Michelle Parrish, CEO of Thick Art.

"HIV/AIDS has affected the Baltimore and DC areas in astounding numbers," said Sharon Burton. "Having an art exhibition at a venue like this enables us to get the message of testing; prevention and education directly to the community, especially people who need this message the most." Chris Sgro of CARE, one of the organizations that will receive funds from artwork sold at the exhibition, was present to provide information about the organization's on-going fight against HIV/AIDS in developing countries. Creative Cause also provided guests an opportunity to express their own thoughts creatively through postcards.

"As we mark World AIDS Day, we must continue to find creative ways to bring awareness and action on HIV/AIDS. That's why we will have people contribute to an ongoing exhibit as part of Plant HOPE, which has many meanings - one is HIV Outreach is a Path to Empowerment," said Tambra Stevenson, founder/director of Creative Cause and a member of BADC.
Among the 50 plus guests that attended included a group of college students from the University of Maryland, Baltimore County campus who attended the event as part of a World AIDS Day week of activities. BADC Artists included in the exhibition include: Prudence Bonds Sharon J. Burton Cynthia Farrell Johnson Elva Lovoz And others.... Special thanks to Peace and A Cup of Joe, CARE, Creative Cause and most importantly, the artists for making this a special and well attended event opening.

All content © 2007 Black Artists of DC all rights reserved. For permission to reproduce contact: editor@blackartistsofdc.org

Reed's Sweet Struggle Confounds

2007-12-13T19:35:00.000-08:00

By: Zoma Wallace

Sweet Struggle by Andrea Ellen Reed has finally come to a close at the Torpedo Factory Art Center. For the past six weeks, the photographic series has increasingly angered and confounded me. Her portraits of Black men, women, and children in Blackface beg for an explanation that neither I nor the artist can fully articulate. As gallery intern, most visitors assume that I have created the images and look to me for answers. For those who are not familiar with the Torpedo Factory, it is a highly regarded art center attracting visitors from all over the world. The VAST majority of them are not Black.

Reed paints her subjects in Blackface to capitalize on shock value and enhance her "message to Black people". At surface level, her work appears to challenge false and exaggerated stereotypes about the our community, using the makeup to indicate how the world views us as a people. But from her own mouth, the artist stated that she truly believes her portraits depict tragic conditions plaguing the Black community. In that case, the issues addressed are grossly oversimplified and obviously misunderstood by the artist. She uses the symbolic mask to connect Blacks who currently "misrepresent" themselves to the Black performers of the 19th and early 20th centuries who "misrepresented" themselves and their race on the minstrel stage. She chooses a poor example in Bert Williams to illustrate her point. She apparently is unaware that Bert Williams was a brilliant performer, lauded by people of all races for his wit, exceedingly high intellect, and ability to transcend race with comedy that touched his audience members on the human level. The black makeup he and others wore was simply a prerequisite for Blacks to get onto stage in that era. The invention of Blackface itsellf was an attempt of white performers to express and capitalize on the fascination with the communal rituals of Black Americans. Instantly, her Blackface symbolism breaks down upon examining historical truth. The work becomes a collection of misrepresentations and cliche generalizations that do more to reinforce negative perceptions about our people than to help us recover from them.

The work thoroughly disappoints me because it does not confront nor address the origins of these racial issues. The work does nothing to challenge the European originators of racism and the true source of the violence, drug abuse, broken family structure, and self hatred on which she blames Black people. Therefore, viewers are allowed to distance themselves from the acknowledgment of racism by declaring "I'm not racist so it's not my problem" or take pity on the Black community as a whole, still absolving themselves of any responsibility for these false perpetuations. The fact that the artist is Black gives more credence to the contrived statements of self-victimization.

Reactions to the work run the gamut from laughter to confusion to disgust. Most people are dumbfounded as they pretend to understand the material, furthermore the Black struggle (which is utterly impossible if you have not lived it). The most descriptive words they can muster before scurrying out of the door are "powerful" or "thought-provoking". Occasionally, I get an appreciative glance or "thank you" for somehow allowing them to discuss race while attempting to assure me that they are not racist. But for me, the wrong discussion is taking place with the wrong audience.

The most difficulty I have had is explaining the work to foreign patrons. Laughter precedes the first question which is usually "Why such red lips and black face paint?" They think the subjects are clowns of some sort. Children have had to translate to their parents concepts of racism and minstrelsy that have no parallel in their own culture. As they dialogue in other languages, I can only imagine what is being said and inevitably misunderstood.

My question for Andrea Ellen Reed is, "What next? Any positive suggestions for the future?" Or will Blackface remain a crutch on which to lean for visual impact?

All content © 2007 Black Artists of DC all rights reserved.
For permission to reproduce contact: editor@blackartistsofdc.org

Art in the Garden, Fall 2007

2007-12-13T19:24:00.000-08:00

By Anne Bouie

It takes a cold, cold day early in December to cause on to reflect upon the glorious days of the drifting leaves, gentle winds, warm glow of a golden autumn day in the garden—especially the garden to T.H.Gomillion, artist, organizer, and host with the most. His diverse talents as artist, organizer, and guardian of the groves were on display, and appreciated by artists and those who attended both days.

Artists were graciously placed along meandering walkways and graveled paths. There was Jackie Lee by Gomillion, also Al Burts and John Beckley, all the artists were in place, like flowers displaying their beauty.

The day's beauty provided by Mother Earth, and the artfully tended grounds were the context for a complex, yet complementary collection of artists and their work. Appreciative guests asked questions and dialogued with themselves and with the artists.

Artists shared their insights and processes, support with one another. It is especially important that artists get to know one another, because we keep an eye on one another's progress, growth and evolution. I noticed with pleasure and awe how Sharon Keyser tapestries have increased in refinement, depth and complexity. She shared some of her newest creations: tapestries with fine, sharp finishing and details galore. I was especially struck by her rendition of Africa; a new work in hues of olive was beautifully sewn and constructed.

Virginia Green from Maryland presented an array of work . She shared a painting of a glorious and proud macaw, perched on a branch that looked almost at home in the trees of North East Washington. Her use of colors was clear, simple and direct, and a small rendition of standing stones helped one center and meditate right on the spot. Hampton Olfus rendered the passion, depth and beauty of Bahia as rarely seen, and clearly through eyes which identified with the people, their journey, and their story. He travels to Bahia, and takes reams of photographs from which he then chooses the most powerful and revealing to create canvases of profound beauty, which somehow conceal as much as they reveal.

Clarence Page presented metal pressings of intricate plants captured all of the nuances and textures of graceful woodland flora. Clayton Lang presented a powerful mixed media in black leather on a white background, and his evolution as an artist in the tradition of fine leather craftsmen continues, as does George Smith in his linoleum printing.

Michael Gormley provided music that enhanced a day that stimulated and soothed us all. As we enter that phase of the year that the Taos Pueblo calls, "the Time of Keeping Still", when days are short, nights long, and we retreat inside with warmth and family, it is good to remember, and prepare for the next gathering of artists and art lovers in Gomillion's Art In The Garden.