Eugene Conway, Freya Grand, John Kirwan
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Arts Club of Washington
Opening Reception Friday, Oct. 3, 6:30-9:00pm
2017 I Street NW
Washington, DC
LIFE IN THE ARTS - Artist, Anne Marchand delivers news from the Washington, DC Arts Scene
a group of arts organizations pushing to convert the unused space underneath Dupont Circle into an exhibition space for experimental artists and curators to hold shows they may not otherwise find space for, for "mid-size" traveling exhibitions that can't find a home in a big museum, as well as a variety of other creative endeavors: fashion shows, video screenings, architectural events, and more.. Warehouse's Paul Ruppert, along with Adam Griffiths from the Washington Project for the Arts, and Julian Hunt, an architect with Hunt Laudi Studio, have formed an "ad hoc committee" as part of the new Artist Coalition for Dupont Underground.
ACDU's mission is to fill a hole they feel is missing for art spaces in the city.
"It's a central location and a large space that fits a lot of converging interests," Hunt explains.
Hello DC,
Yours truly is on a mural project across the river in Crystal City, VA. I'll be working on the project for several weeks and then I'll come to see you again. The mural is called Prism and it's a color poem, full of light. You can take a peek at what I'm doing by visiting the blog, On The Wall, http://muralwalls.blogspot.com/. When you're ready in two weeks, come on over and take a look at it. You can hop the metro and be right there. It's at the Route 1 Overpass along 18th Street just outside the Crystal City Metro Stop. See you there!
Sincerely,
Anne Marchand
For quite some time, we have observed with concern, anger and even fear the increasingly diminishing zone of personal privacy available to any of us, the freedom to speak, write, believe, read, travel, even think in complete privacy.
We have quickly become accustomed to random pat-down searches and shoe removals at the airport; these seem benign by now, as does as the inability to enter virtually any office building without producing identification and, in many cases, going through a metal-detector.
In the past few years we have learned through the media, not the government, about much more sinister, invasive and secret surveillance such as warrantless wiretapping of conversations, surveillance of public library usage and monitoring internet and telephone traffic from homes and workplaces. While the initial outcry was loud when these intrusions into our privacy were first disclosed, they are for the most part continuing and it seems quite possible that we are on the verge of becoming accustomed
to and tacitly accepting of these as well. We have already accepted the incredible proliferation of cameras throughout our cities that record our physical presence as it moves through space throughout the day.
Nor is surveillance by any means limited to the government. The internet has facilitated an enormous amount of data collection about our purchases, our viewing habits, our homes, our friends and business connections, the groups we belong to and support.
Short of disconnecting from the modern world completely, there is not much we can do to find a truly inviolate private space.
Touchstone artists interpret this theme freely and broadly. GREEN is approached literally or conceptually, and artists’ responses encompass green as a color, as a movement, as a state of being, as a symbol of life.Participating Artists:
Aftermath includes a wide range of artists and their work that represent a great cross section of our country to include a few local and international artists as well. They speak through their art about the effects that traumatic events from natural and manmade disasters has had on them personally and on their work. As our juror, Laurel Reuter, Founder and Chief Curator of the North Dakota Museum of Art states, “Today’s artists are not asked to record the definitive history of their times but instead to give their contemporary audiences the means to understand their own times. Ours is not a contemplative society; artists often are. For some artists, like some writers, assume the role of moral compass.”
Teo González extends his signature approach to process, organic form, and the color values of his very specific pigments in a new series of paintings with gold pigment on various grounds as well as new paintings in the artist’s current color compositions. The title of the exhibition, 23.4837K, represents a playful and hypothetical karat value (K) of the gold pigment used in the paintings, a number which represents the impossibility of achieving the “pure value” of 24K, or 100% gold. 23.4837K is a symbol of limits, imperfections, and the reality of worldly matter for an artist whose work has sought ideal harmonies. -Martin Irvine
Golden Paints has introduced a new line called Open Acrylics. The idea is to offer acrylic painters a chance to really relax and take their time without the business of quick drying as in normal acrylics. The new product stays wet or tacky up to ten times longer than normal heavy-bodied acrylics. Further, they can be worked together with the standard products and made to speed up or slow down drying times according to percentages mixed.
I've been using them straight up and in various mixtures for a week or so, and I like them. Right out of the tube, or with the special thinner, you can be positively languorous--even in direct sunlight. I was blown away. They mix and blend like a dream, and false starts and boo-boos can be scrubbed into oblivion or gradated away with a rag. They stay water-miscible, so you can get effects you can't get with the regulars.
There are a few things you have to watch out for. The Golden Product Information Sheet is worth reading before you begin. For starters, the dedicated thinner contains no binders. It looks to me like there are a minimum of acrylic binders in the pigments anyway--but there is a volatile medium that is slow to evaporate. Golden recommends 30 days drying before final varnish.
I found that once things were going nicely I could force dry with moderate heat. This may not be advisable. Acrylics in general require curing rather than drying. Further, adherence or clouding problems may arise if you pile impasto or a regular glaze on an uncured surface. My advice is to consciously take a little longer between stages. This is good for the old creativity machine as well. Especially for those of us who multitask, the use of Open Acrylics takes the pressure off and lets you fool around more.
Because the Open Acrylics still have Golden's trusted richness, you can cut down your palette. I've been working with a small kit of six pigments: Titanium White, Hansa Yellow Opaque, Phthalo Blue (green shade), Phthalo Green (blue shade), Pyrrole Red, Quinacridone Magenta. You can mix some mighty sophisticated hues, including gorgeous darks and earth tones, from this tiny outfit. It's an education.
PS: "Due to the newness of this medium, some applications and uses have yet to be tested or fully explored." (Golden Information Sheet) - Robert Genn
www.robertgenn.com