i've been quite busy lately working on some pieces for the Folger Theatre.
Oddly, after 3.5 years ( feels like a lifetime...) of not setting foot in a theatre, i've managed to find myself working on TWO plays at the same time.
it might be a while before i do this again.....
anyway, this photo is of a stencil i cut for some folding screens.
its my loose version of Whistlers Peacocks from The Peacock Room
apparently a production at woolly mammoth that i consulted on won a helen hayes award yesterday too.
Tuesday, April 29, 2008
Thursday, April 24, 2008
a great opportunity
look here
We are excited to be able to offer a unique opportunity to a local artist (or small group of artists) wishing to open a gallery on Route 1 in downtown Hyattsville.
At Arts District Hyattsville, we have one live-work home available for rent, and we are able to include the street-level retail space for FREE.
The home, at 5614 Baltimore Avenue, includes 2 bedrooms, 2.5 bathrooms, island kitchen and hardwood flooring – a beautiful brand new space that’s never been lived in. The rent is $1,950/month, with one month security deposit required and a minimum 1-year lease.
The retail space, located on heavily trafficked Route 1, is anchored between the newly opened bookstore and café.
The home is available for move-in now and we are seeking an artist(s) to be able to open their gallery in the retail space within 90 days. The gallery space must be open to the public for a minimum of 20 hours per week.
Photos are available via email and more information about the neighborhood is available at www.EYA.com.
If you are interested in the home and adjoining free gallery space, please contact:
Jennifer Hebert
jenniferh@eya.com
(301) 634-8667
At Arts District Hyattsville, we have one live-work home available for rent, and we are able to include the street-level retail space for FREE.
The home, at 5614 Baltimore Avenue, includes 2 bedrooms, 2.5 bathrooms, island kitchen and hardwood flooring – a beautiful brand new space that’s never been lived in. The rent is $1,950/month, with one month security deposit required and a minimum 1-year lease.
The retail space, located on heavily trafficked Route 1, is anchored between the newly opened bookstore and café.
The home is available for move-in now and we are seeking an artist(s) to be able to open their gallery in the retail space within 90 days. The gallery space must be open to the public for a minimum of 20 hours per week.
Photos are available via email and more information about the neighborhood is available at www.EYA.com.
If you are interested in the home and adjoining free gallery space, please contact:
Jennifer Hebert
jenniferh@eya.com
(301) 634-8667
| |
Tuesday, April 22, 2008
Sculptors happy hour
Monday, April 28, 2008
6:00 PM - 9:00 PM
Washington Sculptors Group Sculptors Happy Hour
Please join us to meet and chat about sculpture with fellow sculptors and sculpture
lovers on the last Monday of every month at 6:00 PM
March 31, April 28th, May 26th, June 30th etc...
Gordon Biersch
http://www.gordonbiersch.com/
900 F Street NW
Washington, DC 20004
Take the Metro!
Gallery Place Station
9th Street Exit
Ask the Hostess where the washington sculptors group are sitting!
you dont need to be a member to join us, just a lover of sculpture!
Please join us to meet and chat about sculpture with fellow sculptors and sculpture
lovers on the last Monday of every month at 6:00 PM
March 31, April 28th, May 26th, June 30th etc...
Gordon Biersch
http://www.gordonbiersch.com/
900 F Street NW
Washington, DC 20004
Take the Metro!
Gallery Place Station
9th Street Exit
Ask the Hostess where the washington sculptors group are sitting!
you dont need to be a member to join us, just a lover of sculpture!
Homepage
Monday, April 21, 2008
one of my favorite places in the world
Curious Expeditions has a small write up about one of my favorite places in the world. The Mercer Museum.
this photo is of fonthill:
more stuff here
Saturday, April 19, 2008
my day
i'm working on a sculptural installation for a play in crystal city. this is the alley behind the theatre.
Friday, April 18, 2008
X LIVE (Electronica + Projections + Art + Fashion + Performance) + YOU = X
Rania will be setting up at X tomorrow night.
The intention behind 'X' was to create a 21st century Live-art "happening". A kick-ass, inspired and inspiring event for all that brought artists out of their personal studios and into a multi-media, live-art environment that would in effect a.) shake up the artist's creative process through the power of a creatively charged environment b.) expose people to various approaches to the creative process and c.) feature forward thinking artistic talent. The essence of the event was symbolized through the equation: LIVE (Electronica + Projections + Art + Fashion + Performance) + YOU = X
6 PM - 10PM
This month's theme is "Green". Receive a reduced cover charge of $5 for incorporating this month's theme into your clothing.
BeBar
1318 9th Street NW DC 20001
T (202) 232-7450
F (202) 232-7451
bebardc.com
watch this:
The intention behind 'X' was to create a 21st century Live-art "happening". A kick-ass, inspired and inspiring event for all that brought artists out of their personal studios and into a multi-media, live-art environment that would in effect a.) shake up the artist's creative process through the power of a creatively charged environment b.) expose people to various approaches to the creative process and c.) feature forward thinking artistic talent. The essence of the event was symbolized through the equation: LIVE (Electronica + Projections + Art + Fashion + Performance) + YOU = X
6 PM - 10PM
This month's theme is "Green". Receive a reduced cover charge of $5 for incorporating this month's theme into your clothing.
BeBar
1318 9th Street NW DC 20001
T (202) 232-7450
F (202) 232-7451
bebardc.com
watch this:
Sneak Preview: the first stage of making glass art
I use kilns at the Washington Glass School to fire Float Glass to create my sculptures
I'm partial to Float Glass because of the industrial nature of the material and the process of turning it into sculpture. It creates a rugged, yet always elegant material when fired. Glass also is a wonderful ethereal-feeling counterpart to the concrete that i use in my sculptures.
I start with a collection of objects, ( and my kiln firing schedule!). I always bring more things that i'll use when i'm working at the glass school, just in case. there's an element to the process i use that is somewhat spontaneous and improvisational. Sometimes i change my mind at the last minute.
my box of stuff, some of which i made, some of which i found:
Usually i sketch out my compositions and prep my objects ahead of time. i think about the series that i'm creating and the end result i want. sometimes i want larger sculptures, smaller more easily shipped pieces to sell online, or pieces for commissioned jobs.
Then the hard part starts.
I create plaster molds inside the kiln:
You have to be very meticulous during this stage. i often breathe out very loudly after each detail is complete. an exhale of relief. You create the mold in steps with the shallowest detail first, to the deepest part of the relief last. but any shimmying can ruin all your detail. heaven forbid you knock one of your objects into the plaster.. not that i've ever done that..... nope. not me.
working with all that plaster gets messy.
once the imagery and texture are finished and the molds are all set,
i cut all my glass, and place it over the forms.
Because the plaster acts as insulation and the castings are made of a solid 1/2 thick piece of glass, it takes a really long time for the complete firing. In addition to the insulation and thickness factor, glass must change temperature slowly in order to retain its integrity. As we heat up the kiln , we must do so gradually. once the final temperature, around 1600 degrees ( note: i may bit a bit off on that) is reached and held for a ( secret amount of) time, the glass must be annealed, or cooled off VERY slowly. I wont be able to open the lid of the kiln for almost two days.
I cant really foresee exactly how it will turn out. will the glass devitrify? will the glass fill all the detail of the molds? will there be air bubbles? will it crack in half? so many unanswered questions!
Once i pull the pieces out i will clean them off and clean out the kiln for another artist to use.
I will bring the pieces back to my studio and add concrete elements to each. i will also get them ready for hanging.
check back for photos of these steps soon.
and come see the finished pieces in person at Artomatic 2008
I'm partial to Float Glass because of the industrial nature of the material and the process of turning it into sculpture. It creates a rugged, yet always elegant material when fired. Glass also is a wonderful ethereal-feeling counterpart to the concrete that i use in my sculptures.
I start with a collection of objects, ( and my kiln firing schedule!). I always bring more things that i'll use when i'm working at the glass school, just in case. there's an element to the process i use that is somewhat spontaneous and improvisational. Sometimes i change my mind at the last minute.
my box of stuff, some of which i made, some of which i found:
Usually i sketch out my compositions and prep my objects ahead of time. i think about the series that i'm creating and the end result i want. sometimes i want larger sculptures, smaller more easily shipped pieces to sell online, or pieces for commissioned jobs.
Then the hard part starts.
I create plaster molds inside the kiln:
You have to be very meticulous during this stage. i often breathe out very loudly after each detail is complete. an exhale of relief. You create the mold in steps with the shallowest detail first, to the deepest part of the relief last. but any shimmying can ruin all your detail. heaven forbid you knock one of your objects into the plaster.. not that i've ever done that..... nope. not me.
working with all that plaster gets messy.
once the imagery and texture are finished and the molds are all set,
i cut all my glass, and place it over the forms.
Because the plaster acts as insulation and the castings are made of a solid 1/2 thick piece of glass, it takes a really long time for the complete firing. In addition to the insulation and thickness factor, glass must change temperature slowly in order to retain its integrity. As we heat up the kiln , we must do so gradually. once the final temperature, around 1600 degrees ( note: i may bit a bit off on that) is reached and held for a ( secret amount of) time, the glass must be annealed, or cooled off VERY slowly. I wont be able to open the lid of the kiln for almost two days.
I cant really foresee exactly how it will turn out. will the glass devitrify? will the glass fill all the detail of the molds? will there be air bubbles? will it crack in half? so many unanswered questions!
Once i pull the pieces out i will clean them off and clean out the kiln for another artist to use.
I will bring the pieces back to my studio and add concrete elements to each. i will also get them ready for hanging.
check back for photos of these steps soon.
and come see the finished pieces in person at Artomatic 2008
Saturday, April 12, 2008
Friday, April 11, 2008
Tuesday, April 01, 2008
AU STUDIO POSITION
The Department of Art in the College of Arts and Sciences at American University seeks a full-time temporary faculty member at the rank of Assistant Professor for the academic year beginning Fall 2008 to replace a faculty member on sabbatical leave. An MFA in Studio Art, a record of exhibition, and substantial teaching experience are required. Proven ability to work in an effective manner with undergraduate students particularly within a General Education curriculum. Teaching responsibilities will include multiple sections of undergraduate General Education courses in studio art on the introductory level in painting, sculpture, or drawing and undergraduate advanced courses in painting, sculpture, or drawing. The General Education curriculum is designed to help students achieve a broad view of how different disciplinary viewpoints and fields of knowledge can contribute to their understanding of themselves and the world around them. Responsibilities also include limited graduate critiques, as well as student advising including mentoring women and minority students.
To apply, submit a letter of application and curriculum vitae along with a cd with 20 jpegs of own work and 20 jpegs of students’ work, SASE for return of materials, and arrange to have three letters of recommendation sent directly from individuals who are able to comment on the applicant’s qualifications to:
Studio Search Committee, Department of Art, American University, 4400 Massachusetts Avenue, NW, Washington, DC 20016-8004.
Review of applications begins April 14, 2008 and will continue until the position is filled.
American University is an affirmative action/equal opportunity employer committed to a diverse faculty, staff, and student body. Women and minority candidates are encouraged to apply. American University is seeking highly dedicated teachers and scholars who are deeply committed to interdisciplinary learning, the application of new technologies in teaching and scholarship, and to the preparation of students for life in a diverse and rapidly changing global society.
To apply, submit a letter of application and curriculum vitae along with a cd with 20 jpegs of own work and 20 jpegs of students’ work, SASE for return of materials, and arrange to have three letters of recommendation sent directly from individuals who are able to comment on the applicant’s qualifications to:
Studio Search Committee, Department of Art, American University, 4400 Massachusetts Avenue, NW, Washington, DC 20016-8004.
Review of applications begins April 14, 2008 and will continue until the position is filled.
American University is an affirmative action/equal opportunity employer committed to a diverse faculty, staff, and student body. Women and minority candidates are encouraged to apply. American University is seeking highly dedicated teachers and scholars who are deeply committed to interdisciplinary learning, the application of new technologies in teaching and scholarship, and to the preparation of students for life in a diverse and rapidly changing global society.
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