Monday, April 12, 2010

DC REAL ART - Call for artists- looking to discover the Washington region's newest talents!

http://www.washingtonpost.com/wp-dyn/content/gallery/2010/02/22/GA2010022202936.html

Terms and Conditions of the Real Art D.C. Promotion
Thursday, April 1, 2010; 6:04 PM


1. Directors, officers, and employees of WP Company LLC d/b/a The Washington Post and its affiliates, subsidiaries, and divisions (as well as each member of their immediate family and of their household) are not eligible to submit an entry/submission.

2. Void where prohibited by law. All federal, state and local laws apply.

3. To enter, fully complete and submit (as directed) the online entry form available on the entry page located at http://www.washingtonpost.com/real-art-dc. Submissions will be accepted beginning at 12:01 a.m. Eastern Daylight Time (EDT) on 4/2/10 and must be received no later than 11:59 p.m. EDT on 9/30/10 ("Entry Period"). Each entrant must follow the presented instructions and provide the information requested (collectively, "Entry Materials").

4. Entry Materials must be solely the work of such entrant, or must be submitted by an authorized representative of the author of the work. By entering, each entrant agrees and affirms that entrant is submitting solely his/her own work or work that he/she has permission to submit. Submission of Entry Materials and participation in promotion is subject to the User Agreement and Privacy Policy for www.washingtonpost.com including the Service Discussion Guidelines (http://www.washingtonpost.com/wp-srv/liveonline/delphi/delphirules.htm) which govern all user-generated content provided to Sponsor.

5. Entry Materials that are late, unintelligible, incomplete, unreadable, damaged, destroyed, delayed, tampered with, forged, misdirected or otherwise not in compliance with these Term and Conditions may be disqualified.

6. Each entrant agrees and acknowledges that his/her Entry Materials do not violate or infringe the rights of privacy, publicity, or any other rights, including but not limited to copyrights or trademarks, of any third party, nor do the Entry Materials contain libelous or defamatory material. Sponsor reserves the right, in its sole discretion, to disqualify any entrant who submits Entry Materials which Sponsor believes may be defamatory, obscene, profane, offensive, harassing, inappropriate, or that may infringe upon or violate another party's rights. In its sole discretion, Sponsor reserves the right to modify any material submitted prior to posting (or not to post such materials at all) or otherwise disseminating such materials. Submitted materials will not be returned.

7. All entries generated by a script, macro or other automated/repetitive electronic means will be disqualified and ineligible for the promotion.

8. Submitted Entry Materials will be posted on WashingtonPost.com, and may be included in both print and online features and promotions. In addition, by entering you grant Sponsor a license to publish, reproduce, use, transfer, and otherwise display your Entry Materials in any medium and for any purpose in Sponsor's sole discretion.

9. A Washington Post representative[s] will select 10 authors ("Finalists"), whose work is represented in one or more of the valid Entry Materials, based on originality, creativity and adherence to contest rules. Each Finalist will be notified of his/her selection as a Finalist via email to the email address submitted as part of his/her Entry Materials, or the Entry Materials submitted by his/her representative. Each Finalist must respond to such notice within three (3) business days in order to advance to the next round of the promotion (i.e., the Winner Selection round). Each selected Finalist may also be required to provide Sponsor with additional information and/or sign appropriate documentation at this time. Failure to comply with any of these requirements may result in disqualification and selection of an alternate Finalist.

10. Subject to the requirements herein, each selected Finalist will advance to the Winner Selection round. Sponsor reserves the right, in its sole discretion, to select fewer than the number of Finalists originally indicated including (without limitation) based on insufficient number of eligible entries or in the event that any of the originally selected Finalists failed to comply with the promotion's Terms and Conditions. Notwithstanding the above, Sponsor may select alternate Finalists in accordance with these Term and Conditions.

11. Within one week of the end of the Entry Period, and for a period of two weeks ("the Voting Period") the public will be able to vote on the Finalist whose work they prefer. The Finalist receiving the most votes during the Voting Period will be the winner of the promotion ("the Winner"). Washington Post representatives will interview the Winner, whose work will be featured in The Washington Post in print and online

12. The use of computer generated programs or other similar means to submit multiple votes is prohibited and such votes will be discarded/disqualified as determined by Sponsor in its sole discretion. As determined solely by Sponsor, all votes not in compliance with these Terms and Conditions will be discarded/disqualified.

13. Sponsor shall have no liability for any notification or other material sent pursuant to these Terms and Conditions that is lost, intercepted or not received for any reason.

14. In Sponsor's sole discretion, an entrant may be disqualified if such entrant (i) is unreachable or notification is returned as undeliverable (if applicable); (ii) fails to comply with these Terms and Conditions; or (iii) engages in any fraudulent, unfair or deceptive activity.

15. There are no prizes being offered in this promotion.

16. By participating in this promotion, each entrant gives Sponsor permission to use his/her Entry Materials and other information provided to Sponsor in any manner or media in its sole discretion.

17. By participating in this promotion, each entrant agrees to be bound by these Terms and Conditions and the decisions of Sponsor, which are final and binding in all respects. By entering, each entrant agrees to release, discharge, indemnify, and hold harmless Sponsor and its affiliates and subsidiaries, and each of their respective employees, officers, shareholders, directors, representatives and agents from and against any claims, damages or liability involving or arising out of the promotion or his/her participation in the promotion including, but not limited to, claims involving printing errors or other errors. Sponsor disclaims any liability for damage to any computer system resulting from participating in, or accessing or downloading information in connection with, the promotion.

18. Sponsor reserves the right, in its sole discretion, to modify, cancel or suspend this promotion should any virus, bug, computer problem or other cause or problem corrupt or inhibit the administration, security or intended operation of the promotion and, in such situation (or in the event of any type of error), to select participants, alternates, and/or winner from among the eligible entries received prior to and/or after the action taken or in such manner as deemed fair and appropriate by Sponsor.

19. The interpretation of these Terms and Conditions shall be governed by the laws of the United States and the District of Columbia exclusively and solely by and within the courts of the District of Columbia with regard to choice of law principles.

20. Notwithstanding the above, The Washington Post is not licensed to publish, reproduce, use, transfer, and otherwise display your Entry Materials in book format.

ttp://www.washingtonpost.com/wp-dyn/content/article/2010/04/01/AR2010040102953.html

Wednesday, March 24, 2010

www.meganekelley.com


recently updated my artist webpage... check it out!

Monday, March 15, 2010

I am a painter.


Sometimes we just need to believe in ourselves and begin. I began yesterday by writing the following words in my journal... "I am a painter. I am an artist."

Sunday, March 14, 2010

peony's envy


"Grace brings trust, appreciation, love and prosperity".
-unknown

Community Open Darkroom @ Capitol Hill Arts Workshop -Washington DC


Someone recently told me about the open dark room @ CHAW .. and while I haven't gotten a chance to try it out myself just yet... I am definitely happy to find a space to develop some prints!


Community Open Darkroom

The Capitol Hill Arts Workshop has a community open darkroom. The Arts Workshop provides open hours for people with previous darkroom experience. People interested in participating in open darkroom must first call the workshop at (202) 547-6839 to set-up an orientation meeting with a member of the photography department.

Open Darkroom Hours for Fall and Spring 2009
Please call (202) 547-6839.

What is Available:
Complete set-up for black and white printing:
7 enlarger stations (Formats: 35mm, medium format, 4x5)
Film processing room (35mm, medium format, 4x5)
Standard processing chemicals, plus some toners provided
Classroom includes a light table, drying screens, spotting supplies, and a mat cutter

Cost:
For open darkroom, an initial registration fee of $45. $10 per hour.
Chemicals provided, participants must supply their own paper.

For more information please call (202) 547-6839

http://www.chaw.org/photo.php3

Saturday, March 13, 2010

Recycled Magazine Coasters

how about orange is a great resource for ideas ... like the recycled magazine coasters below!
http://howaboutorange.blogspot.com/2009/06/recycled-magazine-coasters.html

Georgia O'Keeffe: Abstraction (February 6-May 9, 2010) at the Phillips Collection in Washington DC




Although painter Georgia O'Keeffe (1887-1986), a central figure in 20th-century art, is best known for simplified images of recognizable objects, her contributions to American abstraction over the course of her long career were radical. Her approach-in paintings, drawings, and watercolors-was determined in 1915, when she decided that her art would record her feelings, rather than the appearance of things. For the remainder of her career, she looked to art, whether abstract or objective, to express emotions for which words seemed inadequate.


In her first abstractions, a series of non-objective charcoal drawings, O'Keeffe reduced her palette to black and white. She filled her compositions with fluid, curvilinear forms reminiscent of Art Nouveau. In 1916, responding to the elemental landscape of western Texas, O'Keeffe reintroduced color into her watercolors. By magnifying and tightly cropping her images, a framing device used by photographers, she found the means to express simultaneously the vastness of nature, the immensity of her own response to it, and a powerful sense of being one with it. Two years later, seeking recognition as a painter in the circle of modern art dealer and photographer Alfred Stieglitz, she moved to New York and took up oils again.

Unwelcome critical interpretations of her work as expressive of her sexuality and a limited market for abstraction led O'Keeffe to turn away from pure abstraction in the 1920s and 1930s. After 1923, she rarely showed her early abstractions. Indeed, between 1935 and 1941, she produced no abstractions at all. Beginning in 1929, O'Keeffe spent long stretches of time in New Mexico, finally moving there in 1949. It proved to be an inexhaustible source of subjects for her mature works. She approached these as she had her most abstract works, through her feelings, using many of the same stylistic means. As she said, "I had to create an equivalent for what I felt about what I was looking at-not copy it."

Likely stung when critic Clement Greenberg trounced her in 1940 for having chosen representation over abstraction, O'Keeffe returned to it in1942, painting forms she found in the natural world that corresponded to abstract forms in her imagination. With the market more receptive to abstract art, she began to exhibit her abstractions again. By the late 1950s and 1960s she was working almost exclusively in an abstract style, in mural-sized aerial views of clouds and a minimalist, geometric series of patio door paintings. The fields of color of her radical late works set a precedent for a younger generation of abstract artists in the 1960s.

Included in the exhibition are more than 100 paintings, drawings, and watercolors by O'Keeffe, dating from 1915 to the late 1970s, and 12 photographic portraits of her by her husband, Alfred Stieglitz.


In conjunction with Georgia O'Keeffe: Abstraction, co-organized by The Phillips Collection, Washington, D.C., the Whitney Museum of American Art, New York, and the Georgia O'Keeffe Museum, Santa Fe