Salopia antiqua: or, An enquiry from personal survey into the 'druidical,' military, and other early remains in Shropshire and the north Welsh borders; with observations upon the names of places, and a glossary of words used in the county of Salop (Google eBook) written by the Rev. Charles Henry Hartshorne printed at the University Press, Cambridge. London: John W. Parker, West Strand. 1841.
WHIPPET, s. a dog bred betwixt a greyhound and a spaniel.
NAGG, v. to bite at, snap. Ex. "Jim's whippet nagged at my heels."
Senin, 20 Desember 2010
Kamis, 02 Desember 2010
Early American Spy Lydia Barrington Darragh
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It is said that on the night of December 2, 1777, Irish-born Philadelphia nurse Lydia Barrington Darragh (1729-1789) potentially saved lives for General George Washington's Continental Army, when she overheard the British planning a surprise attack on Washington's army for the following days.
On Second Street in Philadelphia, directly opposite the headquarters of Sir William Howe, the British commander, lived a Quaker couple, William & Lydia Darrah. Howe’s adjutant general took over part of the Darrah home for his quarters. On December 2, 1777, he advised Lydia to send all her family to bed early, apparently in anticipation of a meeting to be held at their home. At this time, Philadelphia was occupied by the British.
When Howe's headquarters proved too small to hold meetings, he often commandeered a large upstairs room in the Darraghs' house. Although uncorroborated by contemporary written evidence, family oral history relates that Mrs. Darragh regularly would eavesdrop & take notes on the British meetings from an adjoining room & would conceal the notes by sewing them into her coat before passing them onto American troops stationed outside the city.
On the evening of December 2, 1777, Darragh overheard the British commanders planning a surprise attack on Washington's army at Whitemarsh, Pennsylvania, for December 4 & 5.
The morning after the British meeting in her home, determined to get word to the patriots, 48-year-old Lydia crossed the street to Howe’s headquarters & requested a pass to go to a miller at Frankfort to obtain flour. With the pass, she went through the British lines, left her bag to be filled at the mill, and then hurried northward, and delivered her warning.
Lydia then returned to the mill, paid for her bag of flour, and re-entered the city, unsuspected. The forewarned Washington intensified his patrols. She never made the story public during her lifetime, & her daughter told people about her heroism after her death.
The British did march towards Whitemarsh on the evening of December 4, 1777, & were surprised to find General Washington & the Continental Army waiting for them. After three inconclusive days of skirmishing, General Howe chose to return his troops to the relative safety of Philadelphia.
.
It is said that on the night of December 2, 1777, Irish-born Philadelphia nurse Lydia Barrington Darragh (1729-1789) potentially saved lives for General George Washington's Continental Army, when she overheard the British planning a surprise attack on Washington's army for the following days.
On Second Street in Philadelphia, directly opposite the headquarters of Sir William Howe, the British commander, lived a Quaker couple, William & Lydia Darrah. Howe’s adjutant general took over part of the Darrah home for his quarters. On December 2, 1777, he advised Lydia to send all her family to bed early, apparently in anticipation of a meeting to be held at their home. At this time, Philadelphia was occupied by the British.
When Howe's headquarters proved too small to hold meetings, he often commandeered a large upstairs room in the Darraghs' house. Although uncorroborated by contemporary written evidence, family oral history relates that Mrs. Darragh regularly would eavesdrop & take notes on the British meetings from an adjoining room & would conceal the notes by sewing them into her coat before passing them onto American troops stationed outside the city.
On the evening of December 2, 1777, Darragh overheard the British commanders planning a surprise attack on Washington's army at Whitemarsh, Pennsylvania, for December 4 & 5.
The morning after the British meeting in her home, determined to get word to the patriots, 48-year-old Lydia crossed the street to Howe’s headquarters & requested a pass to go to a miller at Frankfort to obtain flour. With the pass, she went through the British lines, left her bag to be filled at the mill, and then hurried northward, and delivered her warning.
Lydia then returned to the mill, paid for her bag of flour, and re-entered the city, unsuspected. The forewarned Washington intensified his patrols. She never made the story public during her lifetime, & her daughter told people about her heroism after her death.
The British did march towards Whitemarsh on the evening of December 4, 1777, & were surprised to find General Washington & the Continental Army waiting for them. After three inconclusive days of skirmishing, General Howe chose to return his troops to the relative safety of Philadelphia.
.
Kamis, 25 November 2010
The Lost & Found Thanksgiving Proclamation of 1789
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The original Thanksgiving Proclamation document was penned by William Jackson, secretary to the President, and only signed by George Washington. The declaration was announced in newspapers and then the original was lost, probably on the move of the US capitol from New York to Washington, D.C. The original manuscript returned to its home in the capitol in 1921 when Dr. J. C. Fitzpatrick, of the manuscripts division of the Library of Congress, purchased the proclamation for $300 at auction from an art gallery in New York City. It was the 1st official presidential proclamation issued in the United States of America.
1790s Christian Gullager 1759-1826 George Washington.
Thanksgiving Proclamation
New York, 3 October 1789
By the President of the United States of America, a Proclamation.
Whereas it is the duty of all Nations to acknowledge the providence of Almighty God, to obey his will, to be grateful for his benefits, and humbly to implore his protection and favor-- and whereas both Houses of Congress have by their joint Committee requested me to recommend to the People of the United States a day of public thanksgiving and prayer to be observed by acknowledging with grateful hearts the many signal favors of Almighty God especially by affording them an opportunity peaceably to establish a form of government for their safety and happiness.
Now therefore I do recommend and assign Thursday the 26th day of November next to be devoted by the People of these States to the service of that great and glorious Being, who is the beneficent Author of all the good that was, that is, or that will be-- That we may then all unite in rendering unto him our sincere and humble thanks--for his kind care and protection of the People of this Country previous to their becoming a Nation--for the signal and manifold mercies, and the favorable interpositions of his Providence which we experienced in the course and conclusion of the late war--for the great degree of tranquility, union, and plenty, which we have since enjoyed--for the peaceable and rational manner, in which we have been enabled to establish constitutions of government for our safety and happiness, and particularly the national One now lately instituted--for the civil and religious liberty with which we are blessed; and the means we have of acquiring and diffusing useful knowledge; and in general for all the great and various favors which he hath been pleased to confer upon us.
and also that we may then unite in most humbly offering our prayers and supplications to the great Lord and Ruler of Nations and beseech him to pardon our national and other transgressions-- to enable us all, whether in public or private stations, to perform our several and relative duties properly and punctually--to render our national government a blessing to all the people, by constantly being a Government of wise, just, and constitutional laws, discreetly and faithfully executed and obeyed--to protect and guide all Sovereigns and Nations (especially such as have shewn kindness unto us) and to bless them with good government, peace, and concord--To promote the knowledge and practice of true religion and virtue, and the encrease of science among them and us--and generally to grant unto all Mankind such a degree of temporal prosperity as he alone knows to be best.
Given under my hand at the City of New York the third day of October in the year of our Lord 1789. Go: Washington
Georges Louis Leclerc, comte de Buffon, Histoire naturelle générale et particulière (Oiseaux), 1799-1808
.
The original Thanksgiving Proclamation document was penned by William Jackson, secretary to the President, and only signed by George Washington. The declaration was announced in newspapers and then the original was lost, probably on the move of the US capitol from New York to Washington, D.C. The original manuscript returned to its home in the capitol in 1921 when Dr. J. C. Fitzpatrick, of the manuscripts division of the Library of Congress, purchased the proclamation for $300 at auction from an art gallery in New York City. It was the 1st official presidential proclamation issued in the United States of America.
1790s Christian Gullager 1759-1826 George Washington.Thanksgiving Proclamation
New York, 3 October 1789
By the President of the United States of America, a Proclamation.
Whereas it is the duty of all Nations to acknowledge the providence of Almighty God, to obey his will, to be grateful for his benefits, and humbly to implore his protection and favor-- and whereas both Houses of Congress have by their joint Committee requested me to recommend to the People of the United States a day of public thanksgiving and prayer to be observed by acknowledging with grateful hearts the many signal favors of Almighty God especially by affording them an opportunity peaceably to establish a form of government for their safety and happiness.
Now therefore I do recommend and assign Thursday the 26th day of November next to be devoted by the People of these States to the service of that great and glorious Being, who is the beneficent Author of all the good that was, that is, or that will be-- That we may then all unite in rendering unto him our sincere and humble thanks--for his kind care and protection of the People of this Country previous to their becoming a Nation--for the signal and manifold mercies, and the favorable interpositions of his Providence which we experienced in the course and conclusion of the late war--for the great degree of tranquility, union, and plenty, which we have since enjoyed--for the peaceable and rational manner, in which we have been enabled to establish constitutions of government for our safety and happiness, and particularly the national One now lately instituted--for the civil and religious liberty with which we are blessed; and the means we have of acquiring and diffusing useful knowledge; and in general for all the great and various favors which he hath been pleased to confer upon us.
and also that we may then unite in most humbly offering our prayers and supplications to the great Lord and Ruler of Nations and beseech him to pardon our national and other transgressions-- to enable us all, whether in public or private stations, to perform our several and relative duties properly and punctually--to render our national government a blessing to all the people, by constantly being a Government of wise, just, and constitutional laws, discreetly and faithfully executed and obeyed--to protect and guide all Sovereigns and Nations (especially such as have shewn kindness unto us) and to bless them with good government, peace, and concord--To promote the knowledge and practice of true religion and virtue, and the encrease of science among them and us--and generally to grant unto all Mankind such a degree of temporal prosperity as he alone knows to be best.
Given under my hand at the City of New York the third day of October in the year of our Lord 1789. Go: Washington
Georges Louis Leclerc, comte de Buffon, Histoire naturelle générale et particulière (Oiseaux), 1799-1808.
Kamis, 04 November 2010
East City Art has Moved!
Please change your bookmarks and refresh your browser. East City Art is now at its permanent home:
The ECA team will continue to bring you the best coverage of the visual arts scene in Eastern DC in a new web-zine format that will include an artist directory, a restaurant guide and a classified section. Look for exciting ECA sponsored events and art openings in 2011
East City Art has Moved!
Please change your bookmarks and refresh your browser. East City Art is now at its permanent home:
The ECA team will continue to bring you the best coverage of the visual arts scene in Eastern DC in a new web-zine format that will include an artist directory, a restaurant guide and a classified section. Look for exciting ECA sponsored events and art openings in 2011
Rabu, 03 November 2010
The Capitol Hill Art League Presents an All-Media Exhibit Juried by Gene Weingarten
| OPENINGS |Opening Reception: Saturday, November 6 from 5pm to 7pm
 |
| "Walking Down the Street" mixed media on canvas, Valentine Szybo. Photo Courtesy Capitol Hill Art League |
The Capitol Hill Art League (CHAL), a program of the Capitol Hill Arts Workshop (CHAW), presents an all-media juried exhibit opening on Saturday, November 6, 2010, from 5:00-7:00 p.m. at CHAW, 545 7th Street SE. The juror for the exhibit is Gene Weingarten, a two-time Pulitzer Prize-winning journalist and columnist for the Washington Post Magazine who is also a Capitol Hill community member. Weingarten will speak at the opening reception. Admission to the opening and exhibit is free.
The all-media show of original artwork continues through December 8, 2010.
The Capitol Hill Arts Workshop is located at 545 7th Street, SE two blocks from Eastern Market Metro on the Blue & Orange Lines. For more information call 202.547.6839 or visit their website at www.chaw.org Gallery hours are: 9:30AM-9:00 PM (M-Th), 9:30AM-6:00 PM (F), and 9:00AM-2:00 PM (Sat).
The Capitol Hill Art League Presents an All-Media Exhibit Juried by Gene Weingarten
| OPENINGS |Opening Reception: Saturday, November 6 from 5pm to 7pm
|
| "Walking Down the Street" mixed media on canvas, Valentine Szybo. Photo Courtesy Capitol Hill Art League |
The Capitol Hill Art League (CHAL), a program of the Capitol Hill Arts Workshop (CHAW), presents an all-media juried exhibit opening on Saturday, November 6, 2010, from 5:00-7:00 p.m. at CHAW, 545 7th Street SE. The juror for the exhibit is Gene Weingarten, a two-time Pulitzer Prize-winning journalist and columnist for the Washington Post Magazine who is also a Capitol Hill community member. Weingarten will speak at the opening reception. Admission to the opening and exhibit is free.
The all-media show of original artwork continues through December 8, 2010.
The Capitol Hill Arts Workshop is located at 545 7th Street, SE two blocks from Eastern Market Metro on the Blue & Orange Lines. For more information call 202.547.6839 or visit their website at www.chaw.org Gallery hours are: 9:30AM-9:00 PM (M-Th), 9:30AM-6:00 PM (F), and 9:00AM-2:00 PM (Sat).
Industry Gallery Hosts "din-din" - An Exhibition of New Work by Jerry Mischak
| OPENINGS | Opening Reception: November 6 from 6pm to 8pm
 |
| Studio view with elements for dinner table/such a night © Jerry Mischak, courtesy Industry Gallery |
Industry Gallery will host din-din, an exhibition of new work by Jerry Mischak, opening November 6, 2010, 6-8 PM, and running through December 18, 2010. Mischak, a senior critic at the Rhode Island School of Design, visiting professor at Brown University and instructor at the University of Rhode Island, will exhibit one large-scale installation and twelve chairs, all unique prototypes. The installation piece dinner table/such a night is a 36-foot long table with 40 plates, 80 pieces of flat ware, 45 glasses, 25 empty wine bottles, and 100 empty water bottles, all wrapped in more than 3000 yards of orange vinyl tape. The exhibition's 12 chairs are found objects reconstructed via sanding, cutting with the addition of plastic, Styrofoam and wood, and all encased in colored vinyl tape.
Mischak uses tape as a unifying element, or as he says, "a skin that covers a number of objects into a common form." The tape appeals both for its color and as a bonding material. He rarely ever works with sketches and never with a computer. His works are developed through trial and error and a sculptural process of adding and subtracting. Mischak says each piece "develops in real time and real space" and explains that with the chairs he is reinventing and redefining how each function with the body, likening the result to cover versions of well-known songs created by jazz musicians.
Speaking of the exhibition, Mischak said dinner table/such a night "evokes the remnants and memories of a grand dinner. Who was there? Who did you sit next to? What were the conversations? What was the food like? Did it get out of hand? Did you say the wrong things? Did you move ahead with your career? The chairs are separate thoughts from the enormous table, although as chairs they can relate."
About the Artis
Mischak grew up in Newark, New Jersey, in a house that he says had his first two studios - the dining room and front porch his mother converted into a beauty parlor, and a dirt floor basement where he built monsters and made movies with an 8mm Bell and Howell camera. These were the places he could be alone and creative. "I once made a figure out of wood wrapped it with strips of white cloth, put it in a metal box and buried it in the back yard. It was after to my first viewing of The Mummy with Boris Karloff, my mom got worried she thought I was getting a little crazy. It was a time and world of fantasies, and performance while building the objects that helped create these stories."
"I feel that my work comes out of those early exploits and the industrial urban sections of Jersey where I would travel as a kid and later as a teen. Where the bridges embrace the port and the factory buildings."
Mischak cites an affinity for the work of Jorge Pardo, Ernesto Neto and Franz West for "their ability and vision to cross lines of sculpture, architecture and design." He also admires the work of Tejo Remy & René Veenhuizen, saying "to me they are always on the edge, their concepts are genuine, clear and sometimes humorous."
Mischak received his BFA from Rhode Island School of Design and MFA from the University of Wisconsin-Madison. He has exhibited his work at the Palmer Museum, Penn State University; Cypress College Art Gallery, Cypress, CA; Islip Art Museum; Lehman College Art Gallery, NY; Pavel Zoubok Gallery, NY; Jim Kempner Fine Art, New York; the Boston Center for the Arts; and, Diverse Works Gallery, Houston. Mischak is also a recipient of the Howard Foundation Fellowship and Rhode Island State Council of the Arts Fellowship.
Mischak uses tape as a unifying element, or as he says, "a skin that covers a number of objects into a common form." The tape appeals both for its color and as a bonding material. He rarely ever works with sketches and never with a computer. His works are developed through trial and error and a sculptural process of adding and subtracting. Mischak says each piece "develops in real time and real space" and explains that with the chairs he is reinventing and redefining how each function with the body, likening the result to cover versions of well-known songs created by jazz musicians.
Speaking of the exhibition, Mischak said dinner table/such a night "evokes the remnants and memories of a grand dinner. Who was there? Who did you sit next to? What were the conversations? What was the food like? Did it get out of hand? Did you say the wrong things? Did you move ahead with your career? The chairs are separate thoughts from the enormous table, although as chairs they can relate."
About the Artis
Mischak grew up in Newark, New Jersey, in a house that he says had his first two studios - the dining room and front porch his mother converted into a beauty parlor, and a dirt floor basement where he built monsters and made movies with an 8mm Bell and Howell camera. These were the places he could be alone and creative. "I once made a figure out of wood wrapped it with strips of white cloth, put it in a metal box and buried it in the back yard. It was after to my first viewing of The Mummy with Boris Karloff, my mom got worried she thought I was getting a little crazy. It was a time and world of fantasies, and performance while building the objects that helped create these stories."
"I feel that my work comes out of those early exploits and the industrial urban sections of Jersey where I would travel as a kid and later as a teen. Where the bridges embrace the port and the factory buildings."
Mischak cites an affinity for the work of Jorge Pardo, Ernesto Neto and Franz West for "their ability and vision to cross lines of sculpture, architecture and design." He also admires the work of Tejo Remy & René Veenhuizen, saying "to me they are always on the edge, their concepts are genuine, clear and sometimes humorous."
Mischak received his BFA from Rhode Island School of Design and MFA from the University of Wisconsin-Madison. He has exhibited his work at the Palmer Museum, Penn State University; Cypress College Art Gallery, Cypress, CA; Islip Art Museum; Lehman College Art Gallery, NY; Pavel Zoubok Gallery, NY; Jim Kempner Fine Art, New York; the Boston Center for the Arts; and, Diverse Works Gallery, Houston. Mischak is also a recipient of the Howard Foundation Fellowship and Rhode Island State Council of the Arts Fellowship.
Industry Gallery www.industrygallerydc.com is located at 1358 Florida Ave., NE, 2d Floor, Washington DC 20002, info@industrygallerydc.com (202) 399 1730. The gallery is open Wednesday - Saturday, 11AM - 5PM, and by appointment.
Industry Gallery Hosts "din-din" - An Exhibition of New Work by Jerry Mischak
| OPENINGS | Opening Reception: November 6 from 6pm to 8pm
|
| Studio view with elements for dinner table/such a night © Jerry Mischak, courtesy Industry Gallery |
Industry Gallery will host din-din, an exhibition of new work by Jerry Mischak, opening November 6, 2010, 6-8 PM, and running through December 18, 2010. Mischak, a senior critic at the Rhode Island School of Design, visiting professor at Brown University and instructor at the University of Rhode Island, will exhibit one large-scale installation and twelve chairs, all unique prototypes. The installation piece dinner table/such a night is a 36-foot long table with 40 plates, 80 pieces of flat ware, 45 glasses, 25 empty wine bottles, and 100 empty water bottles, all wrapped in more than 3000 yards of orange vinyl tape. The exhibition's 12 chairs are found objects reconstructed via sanding, cutting with the addition of plastic, Styrofoam and wood, and all encased in colored vinyl tape.
Mischak uses tape as a unifying element, or as he says, "a skin that covers a number of objects into a common form." The tape appeals both for its color and as a bonding material. He rarely ever works with sketches and never with a computer. His works are developed through trial and error and a sculptural process of adding and subtracting. Mischak says each piece "develops in real time and real space" and explains that with the chairs he is reinventing and redefining how each function with the body, likening the result to cover versions of well-known songs created by jazz musicians.
Speaking of the exhibition, Mischak said dinner table/such a night "evokes the remnants and memories of a grand dinner. Who was there? Who did you sit next to? What were the conversations? What was the food like? Did it get out of hand? Did you say the wrong things? Did you move ahead with your career? The chairs are separate thoughts from the enormous table, although as chairs they can relate."
About the Artis
Mischak grew up in Newark, New Jersey, in a house that he says had his first two studios - the dining room and front porch his mother converted into a beauty parlor, and a dirt floor basement where he built monsters and made movies with an 8mm Bell and Howell camera. These were the places he could be alone and creative. "I once made a figure out of wood wrapped it with strips of white cloth, put it in a metal box and buried it in the back yard. It was after to my first viewing of The Mummy with Boris Karloff, my mom got worried she thought I was getting a little crazy. It was a time and world of fantasies, and performance while building the objects that helped create these stories."
"I feel that my work comes out of those early exploits and the industrial urban sections of Jersey where I would travel as a kid and later as a teen. Where the bridges embrace the port and the factory buildings."
Mischak cites an affinity for the work of Jorge Pardo, Ernesto Neto and Franz West for "their ability and vision to cross lines of sculpture, architecture and design." He also admires the work of Tejo Remy & René Veenhuizen, saying "to me they are always on the edge, their concepts are genuine, clear and sometimes humorous."
Mischak received his BFA from Rhode Island School of Design and MFA from the University of Wisconsin-Madison. He has exhibited his work at the Palmer Museum, Penn State University; Cypress College Art Gallery, Cypress, CA; Islip Art Museum; Lehman College Art Gallery, NY; Pavel Zoubok Gallery, NY; Jim Kempner Fine Art, New York; the Boston Center for the Arts; and, Diverse Works Gallery, Houston. Mischak is also a recipient of the Howard Foundation Fellowship and Rhode Island State Council of the Arts Fellowship.
Mischak uses tape as a unifying element, or as he says, "a skin that covers a number of objects into a common form." The tape appeals both for its color and as a bonding material. He rarely ever works with sketches and never with a computer. His works are developed through trial and error and a sculptural process of adding and subtracting. Mischak says each piece "develops in real time and real space" and explains that with the chairs he is reinventing and redefining how each function with the body, likening the result to cover versions of well-known songs created by jazz musicians.
Speaking of the exhibition, Mischak said dinner table/such a night "evokes the remnants and memories of a grand dinner. Who was there? Who did you sit next to? What were the conversations? What was the food like? Did it get out of hand? Did you say the wrong things? Did you move ahead with your career? The chairs are separate thoughts from the enormous table, although as chairs they can relate."
About the Artis
Mischak grew up in Newark, New Jersey, in a house that he says had his first two studios - the dining room and front porch his mother converted into a beauty parlor, and a dirt floor basement where he built monsters and made movies with an 8mm Bell and Howell camera. These were the places he could be alone and creative. "I once made a figure out of wood wrapped it with strips of white cloth, put it in a metal box and buried it in the back yard. It was after to my first viewing of The Mummy with Boris Karloff, my mom got worried she thought I was getting a little crazy. It was a time and world of fantasies, and performance while building the objects that helped create these stories."
"I feel that my work comes out of those early exploits and the industrial urban sections of Jersey where I would travel as a kid and later as a teen. Where the bridges embrace the port and the factory buildings."
Mischak cites an affinity for the work of Jorge Pardo, Ernesto Neto and Franz West for "their ability and vision to cross lines of sculpture, architecture and design." He also admires the work of Tejo Remy & René Veenhuizen, saying "to me they are always on the edge, their concepts are genuine, clear and sometimes humorous."
Mischak received his BFA from Rhode Island School of Design and MFA from the University of Wisconsin-Madison. He has exhibited his work at the Palmer Museum, Penn State University; Cypress College Art Gallery, Cypress, CA; Islip Art Museum; Lehman College Art Gallery, NY; Pavel Zoubok Gallery, NY; Jim Kempner Fine Art, New York; the Boston Center for the Arts; and, Diverse Works Gallery, Houston. Mischak is also a recipient of the Howard Foundation Fellowship and Rhode Island State Council of the Arts Fellowship.
Industry Gallery www.industrygallerydc.com is located at 1358 Florida Ave., NE, 2d Floor, Washington DC 20002, info@industrygallerydc.com (202) 399 1730. The gallery is open Wednesday - Saturday, 11AM - 5PM, and by appointment.
Selasa, 02 November 2010
Anacostia Fotoweek November 6 - 13
| OPENINGS |
Reception, November 6th starting at 7pm:
Stop by Anacostia's newest creative space, Blank Space SE, to check out American Poetry Museum's presentation O R G A N I C A: Photographic Series by Melani N. Douglass & Rachel Eliza Griffiths.
Vivid Solutions DC Print Lab is displaying Mixed Up: A Photography Showcase (a selection of client images printed by the Vivid Solutions DC Print Lab) at Big Chair Coffee & Grill. This group exhibit showcases select photographs from some of the clientele who have helped make the first year of business a great success.
Reception: November 10th from 6pm to 8pm:
In his solo exhibition Neither...Nor, Vietnamese born artist Khanh H. Le is presenting 14 large scale images using the multiple plate polymer photogravure etching technique at The Gallery at Vivid Solutions. Le examines identity, through the bits and pieces of personal memory, the collective history from two cultures; Vietnam and the US.
Starting promptly at 8:15pm is a free performance from the contemporary classical group, The Analog Arts Ensemble. The group will be performing works by Roussel and Francaix, as well as a world premier by Dolf Kämper.
Starting promptly at 8:15pm is a free performance from the contemporary classical group, The Analog Arts Ensemble. The group will be performing works by Roussel and Francaix, as well as a world premier by Dolf Kämper.
Reception, November 11th starting at 6pm:
Honfleur Gallery is hosting "Likeness", the brainchild of DC based photographer, Joshua Yospyn. The exhibition includes twenty artists: ten photographers and ten street artists with an end result of ten original portraits and ten interpretations of that portrait.
Photographers and artists include:
Bo Zhang, Chris Usher, David Holloway, Erica Allen, Jason Horowitz, Josh Yospyn, Lois Bielefeld, Joshua Cogan, Matt Dunn, & Michel Frankfurter. Diabetik, Brandon Hill, Decoy, Asad Walker, Matthew Shlian, Lance Wiggs & Buck, Heather Stevens, Earnest Concepcion, Mike Estabrook, and Peter Chang.
Upstairs at Honfleur Gallery is a solo exhibit by Charlotte L'Harmeroult who is a painter and video artist based in Paris, France. Her experimental, energetic video and photography projects use humor and colorful, surreal narratives.
Photographers and artists include:
Bo Zhang, Chris Usher, David Holloway, Erica Allen, Jason Horowitz, Josh Yospyn, Lois Bielefeld, Joshua Cogan, Matt Dunn, & Michel Frankfurter. Diabetik, Brandon Hill, Decoy, Asad Walker, Matthew Shlian, Lance Wiggs & Buck, Heather Stevens, Earnest Concepcion, Mike Estabrook, and Peter Chang.
Upstairs at Honfleur Gallery is a solo exhibit by Charlotte L'Harmeroult who is a painter and video artist based in Paris, France. Her experimental, energetic video and photography projects use humor and colorful, surreal narratives.
Extended FOTOWEEK DC Hours are as follows:
Honfleur Gallery and The Gallery at Vivid Solutions
11/6 11am-8pm
11/7 and 11/8 12pm-5pm
11/9 12pm-8pm,
11/10 and 11/11 12pm-9pm
11/12 12pm-8pm
11/13 11-5pm
Blank Space SE
10am - 6pm
Big Chair Coffee & Grill
7am - 8pm
Anacostia Fotoweek November 6 - 13
| OPENINGS |Reception, November 6th starting at 7pm:
Stop by Anacostia's newest creative space, Blank Space SE, to check out American Poetry Museum's presentation O R G A N I C A: Photographic Series by Melani N. Douglass & Rachel Eliza Griffiths.
Vivid Solutions DC Print Lab is displaying Mixed Up: A Photography Showcase (a selection of client images printed by the Vivid Solutions DC Print Lab) at Big Chair Coffee & Grill. This group exhibit showcases select photographs from some of the clientele who have helped make the first year of business a great success.
Reception: November 10th from 6pm to 8pm:
In his solo exhibition Neither...Nor, Vietnamese born artist Khanh H. Le is presenting 14 large scale images using the multiple plate polymer photogravure etching technique at The Gallery at Vivid Solutions. Le examines identity, through the bits and pieces of personal memory, the collective history from two cultures; Vietnam and the US.
Starting promptly at 8:15pm is a free performance from the contemporary classical group, The Analog Arts Ensemble. The group will be performing works by Roussel and Francaix, as well as a world premier by Dolf Kämper.
Starting promptly at 8:15pm is a free performance from the contemporary classical group, The Analog Arts Ensemble. The group will be performing works by Roussel and Francaix, as well as a world premier by Dolf Kämper.
Reception, November 11th starting at 6pm:
Honfleur Gallery is hosting "Likeness", the brainchild of DC based photographer, Joshua Yospyn. The exhibition includes twenty artists: ten photographers and ten street artists with an end result of ten original portraits and ten interpretations of that portrait.
Photographers and artists include:
Bo Zhang, Chris Usher, David Holloway, Erica Allen, Jason Horowitz, Josh Yospyn, Lois Bielefeld, Joshua Cogan, Matt Dunn, & Michel Frankfurter. Diabetik, Brandon Hill, Decoy, Asad Walker, Matthew Shlian, Lance Wiggs & Buck, Heather Stevens, Earnest Concepcion, Mike Estabrook, and Peter Chang.
Upstairs at Honfleur Gallery is a solo exhibit by Charlotte L'Harmeroult who is a painter and video artist based in Paris, France. Her experimental, energetic video and photography projects use humor and colorful, surreal narratives.
Photographers and artists include:
Bo Zhang, Chris Usher, David Holloway, Erica Allen, Jason Horowitz, Josh Yospyn, Lois Bielefeld, Joshua Cogan, Matt Dunn, & Michel Frankfurter. Diabetik, Brandon Hill, Decoy, Asad Walker, Matthew Shlian, Lance Wiggs & Buck, Heather Stevens, Earnest Concepcion, Mike Estabrook, and Peter Chang.
Upstairs at Honfleur Gallery is a solo exhibit by Charlotte L'Harmeroult who is a painter and video artist based in Paris, France. Her experimental, energetic video and photography projects use humor and colorful, surreal narratives.
Extended FOTOWEEK DC Hours are as follows:
Honfleur Gallery and The Gallery at Vivid Solutions
11/6 11am-8pm
11/7 and 11/8 12pm-5pm
11/9 12pm-8pm,
11/10 and 11/11 12pm-9pm
11/12 12pm-8pm
11/13 11-5pm
Blank Space SE
10am - 6pm
Big Chair Coffee & Grill
7am - 8pm
City Gallery presents Geoff Ault "Running with Scissors"
| OPENINGS | Opening Reception: Saturday November 6 from 6pm to 9pm
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| Geoff Ault "Running with Scissors" Photo Courtesy of CITY Gallery |
In Ault’s words:
“As children we are told what not to do. Don’t touch that, it’s hot. Don’t eat that, it’s dirty. Don’t swallow your gum, don’t play with matches. Don’t run with scissors.
Yet we did everything we were told not to do because we wanted to know why the adults didn’t want us to do these things. So we found out what ‘hot’ is, what dirt tastes like, what happened when we swallowed our chewing gum, and the consequences of playing with matches. But somehow we knew the consequences of running with scissors and usually didn’t try that one out.
In the art world, often we are told that we shouldn’t paint with acrylics because oils are better. In photography, we should use film instead of digital cameras. Often artists are admonished that we should stick to the tried and true methods. To a certain point this is true. One must walk before he or she can run. The basics of composition, technique and color are important in creating art in all forms.
Yet we did everything we were told not to do because we wanted to know why the adults didn’t want us to do these things. So we found out what ‘hot’ is, what dirt tastes like, what happened when we swallowed our chewing gum, and the consequences of playing with matches. But somehow we knew the consequences of running with scissors and usually didn’t try that one out.
In the art world, often we are told that we shouldn’t paint with acrylics because oils are better. In photography, we should use film instead of digital cameras. Often artists are admonished that we should stick to the tried and true methods. To a certain point this is true. One must walk before he or she can run. The basics of composition, technique and color are important in creating art in all forms.
At some point the artist must take a creative leap and forget the rules; run with the scissors this time and see what happens. I like to twist the composition, play with color and try out new ways of creating images. It is painting to the extent in that I use brushes, layering and blending. The only difference is that I have a canvas and brush that are electronic, not physical. This allows me to create work that can have various textures, colors that can be subtle or vibrant. It also allows me to alter images to the point that they are unrecognizable from the original image.
Some images begin as film photographs taken with toy cameras that produce blurry, dreamlike images. I scan the negative into the computer and what is usually a black and white image of something rather mundane can become a colorful abstraction. Other images are created from objects placed on a flatbed scanner and digitally manipulated to produce distorted, unrecognizable images. A flower can become a landscape, a piece of slashed matboard becomes a seascape. The possibilities are endless”.
City Gallery is located at 804 H ST NE second floor, Washington, DC 20002. Gallery hours are Fridays and Saturday 1-5pm.
City Gallery presents Geoff Ault "Running with Scissors"
| OPENINGS | Opening Reception: Saturday November 6 from 6pm to 9pm
|
| Geoff Ault "Running with Scissors" Photo Courtesy of CITY Gallery |
In Ault’s words:
“As children we are told what not to do. Don’t touch that, it’s hot. Don’t eat that, it’s dirty. Don’t swallow your gum, don’t play with matches. Don’t run with scissors.
Yet we did everything we were told not to do because we wanted to know why the adults didn’t want us to do these things. So we found out what ‘hot’ is, what dirt tastes like, what happened when we swallowed our chewing gum, and the consequences of playing with matches. But somehow we knew the consequences of running with scissors and usually didn’t try that one out.
In the art world, often we are told that we shouldn’t paint with acrylics because oils are better. In photography, we should use film instead of digital cameras. Often artists are admonished that we should stick to the tried and true methods. To a certain point this is true. One must walk before he or she can run. The basics of composition, technique and color are important in creating art in all forms.
Yet we did everything we were told not to do because we wanted to know why the adults didn’t want us to do these things. So we found out what ‘hot’ is, what dirt tastes like, what happened when we swallowed our chewing gum, and the consequences of playing with matches. But somehow we knew the consequences of running with scissors and usually didn’t try that one out.
In the art world, often we are told that we shouldn’t paint with acrylics because oils are better. In photography, we should use film instead of digital cameras. Often artists are admonished that we should stick to the tried and true methods. To a certain point this is true. One must walk before he or she can run. The basics of composition, technique and color are important in creating art in all forms.
At some point the artist must take a creative leap and forget the rules; run with the scissors this time and see what happens. I like to twist the composition, play with color and try out new ways of creating images. It is painting to the extent in that I use brushes, layering and blending. The only difference is that I have a canvas and brush that are electronic, not physical. This allows me to create work that can have various textures, colors that can be subtle or vibrant. It also allows me to alter images to the point that they are unrecognizable from the original image.
Some images begin as film photographs taken with toy cameras that produce blurry, dreamlike images. I scan the negative into the computer and what is usually a black and white image of something rather mundane can become a colorful abstraction. Other images are created from objects placed on a flatbed scanner and digitally manipulated to produce distorted, unrecognizable images. A flower can become a landscape, a piece of slashed matboard becomes a seascape. The possibilities are endless”.
City Gallery is located at 804 H ST NE second floor, Washington, DC 20002. Gallery hours are Fridays and Saturday 1-5pm.
Today in History - John Paul Jones Sets To Sea
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On this day in 1777, the USS Ranger, with a crew of 140 men under the command of John Paul Jones, leaves Portsmouth, New Hampshire, for the naval port at Brest, France, where it will stop before heading toward the Irish Sea to begin raids on British warships. This was the first mission of its kind during the Revolutionary War.
+John+Paul+Jones.jpg)
George Bagby Matthews (1857-1943) John Paul Jones
Commander Jones, remembered as one of the most daring and successful naval commanders of the American Revolution, was born in Scotland, on July 6, 1747. He became an apprentice to a merchant at 13 and soon went to sea, traveling first to the West Indies and then to North America as a young man. In Virginia at the onset of the American Revolution, Jones sided with the Patriots and received a commission as a first lieutenant in the Continental Navy on December 7, 1775.
Bookcover from John Paul Jones and the Ranger Edited by Joseph G. Sawtelle
After departing Brest, Jones successfully executed raids on two forts in England's Whitehaven Harbor, despite a disgruntled crew more interested in "gain than honor." Jones then continued to his home territory of Kirkcudbright Bay, Scotland, where he intended to abduct the earl of Selkirk and then exchange him for American sailors held captive by Britain.
Although he did not find the earl at home, Jones' crew was able to steal all his silver, including his wife's teapot, still containing her breakfast tea. From Scotland, Jones sailed across the Irish Sea to Carrickfergus, where the Ranger captured the HMS Drake after delivering fatal wounds to the British ship's captain and lieutenant.
II102.jpg)
E. Benjamin Andrews, History of the United States from the Earliest Discovery of American to the Present Day, Volume II (New York Charles Scribner's Sons, 1895)
In September 1779, Jones fought one of the fiercest battles in naval history when he led the USS Bonhomme Richard frigate, named for Benjamin Franklin, in an engagement with the 50-gun British warship HMS Serapis. After the Bonhomme Richard was struck, it began taking on water and caught fire. When the British captain of the Serapis ordered Jones to surrender, he famously replied, "I have not yet begun to fight!" A few hours later, the captain and crew of the Serapis admitted defeat and Jones took command of the British ship.
USS Ranger and HMS Drake
One of the greatest naval commanders in history, Jones is remembered as a "Father of the American Navy," along with fellow Revolutionary War hero Commodore John Barry. John Paul Jones is buried in a crypt at the U.S. Naval Academy Chapel in Annapolis, Maryland, where a Marine honor guard stands at attention whenever the crypt is open to the public.
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On this day in 1777, the USS Ranger, with a crew of 140 men under the command of John Paul Jones, leaves Portsmouth, New Hampshire, for the naval port at Brest, France, where it will stop before heading toward the Irish Sea to begin raids on British warships. This was the first mission of its kind during the Revolutionary War.
+John+Paul+Jones.jpg)
George Bagby Matthews (1857-1943) John Paul JonesCommander Jones, remembered as one of the most daring and successful naval commanders of the American Revolution, was born in Scotland, on July 6, 1747. He became an apprentice to a merchant at 13 and soon went to sea, traveling first to the West Indies and then to North America as a young man. In Virginia at the onset of the American Revolution, Jones sided with the Patriots and received a commission as a first lieutenant in the Continental Navy on December 7, 1775.
Bookcover from John Paul Jones and the Ranger Edited by Joseph G. SawtelleAfter departing Brest, Jones successfully executed raids on two forts in England's Whitehaven Harbor, despite a disgruntled crew more interested in "gain than honor." Jones then continued to his home territory of Kirkcudbright Bay, Scotland, where he intended to abduct the earl of Selkirk and then exchange him for American sailors held captive by Britain.
Although he did not find the earl at home, Jones' crew was able to steal all his silver, including his wife's teapot, still containing her breakfast tea. From Scotland, Jones sailed across the Irish Sea to Carrickfergus, where the Ranger captured the HMS Drake after delivering fatal wounds to the British ship's captain and lieutenant.
II102.jpg)
E. Benjamin Andrews, History of the United States from the Earliest Discovery of American to the Present Day, Volume II (New York Charles Scribner's Sons, 1895)In September 1779, Jones fought one of the fiercest battles in naval history when he led the USS Bonhomme Richard frigate, named for Benjamin Franklin, in an engagement with the 50-gun British warship HMS Serapis. After the Bonhomme Richard was struck, it began taking on water and caught fire. When the British captain of the Serapis ordered Jones to surrender, he famously replied, "I have not yet begun to fight!" A few hours later, the captain and crew of the Serapis admitted defeat and Jones took command of the British ship.
USS Ranger and HMS DrakeOne of the greatest naval commanders in history, Jones is remembered as a "Father of the American Navy," along with fellow Revolutionary War hero Commodore John Barry. John Paul Jones is buried in a crypt at the U.S. Naval Academy Chapel in Annapolis, Maryland, where a Marine honor guard stands at attention whenever the crypt is open to the public.
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Senin, 01 November 2010
All Mixed Up: A Juried Exhibition of Mixed Media Work
| OPENINGS |Opening Reception: Thursday, November 4 from 6:00 to 9:00pm
Featuring the work of Melissa Burley, Nancy Donnelly, Angelina Hein, Tom Hill, Katie Dell Kaufman, Judith Kornett, Allen Linder, Megan Mueller, John Paradiso, Tim Tate, Erwin Timmers, Linda Lee Uphoff and Steven Williams.
Juror: Philippa HughesExhibition Dates: November 1 - 27, 2010.
Hosted at the Brentwood Arts Exchange in the Gateway Arts District for the first time, the 2010 Prince George's County Annual Juried Exhibition, All Mixed Up, is a prominent showcase for artists living, working, and studying in Prince George's County.
"Dynamic, layered, textured and a little weird." The juror uses these words describe herself as much as the works in All Mixed Up. The words also come together as a surprisingly succinct way to sum up the Zeitgeist of contemporary art. The title "All Mixed Up" proceeds to take on its own layers of meaning. As it traverses from installation to abstraction, provocation to beauty, the show strikes a chord at the heart of what makes contemporary art so exciting.
Co-sponsored by The M-NCPPC Department of Parks & Recreation and the Prince George's County Arts Council, All Mixed Up is also a bold reminder of the role Prince George's County increasingly plays at the forefront of the region's art community. It is nationally prominent and emerging artists. It is raw and refined, traditional as well as edgy, challenging and also affirming.
The Brentwood Arts Exchange at the Gateway Arts Center is located at 3901 Rhode Island Avenue Brentwood, MD 20722. Call the center at 301-277-2863/ tty. 301-446-6802. Hours are Monday through Friday: 10am - 8pm and Saturday: 10am - 6pm.
All Mixed Up: A Juried Exhibition of Mixed Media Work
| OPENINGS |Opening Reception: Thursday, November 4 from 6:00 to 9:00pm
Featuring the work of Melissa Burley, Nancy Donnelly, Angelina Hein, Tom Hill, Katie Dell Kaufman, Judith Kornett, Allen Linder, Megan Mueller, John Paradiso, Tim Tate, Erwin Timmers, Linda Lee Uphoff and Steven Williams.
Juror: Philippa HughesExhibition Dates: November 1 - 27, 2010.
Hosted at the Brentwood Arts Exchange in the Gateway Arts District for the first time, the 2010 Prince George's County Annual Juried Exhibition, All Mixed Up, is a prominent showcase for artists living, working, and studying in Prince George's County.
"Dynamic, layered, textured and a little weird." The juror uses these words describe herself as much as the works in All Mixed Up. The words also come together as a surprisingly succinct way to sum up the Zeitgeist of contemporary art. The title "All Mixed Up" proceeds to take on its own layers of meaning. As it traverses from installation to abstraction, provocation to beauty, the show strikes a chord at the heart of what makes contemporary art so exciting.
Co-sponsored by The M-NCPPC Department of Parks & Recreation and the Prince George's County Arts Council, All Mixed Up is also a bold reminder of the role Prince George's County increasingly plays at the forefront of the region's art community. It is nationally prominent and emerging artists. It is raw and refined, traditional as well as edgy, challenging and also affirming.
The Brentwood Arts Exchange at the Gateway Arts Center is located at 3901 Rhode Island Avenue Brentwood, MD 20722. Call the center at 301-277-2863/ tty. 301-446-6802. Hours are Monday through Friday: 10am - 8pm and Saturday: 10am - 6pm.
Minggu, 31 Oktober 2010
Today in History - George III Speaks After American Declares Independence
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George III of England by Allan Ramsay 1762
On this day in 1776, in his first speech before British Parliament since the leaders of the American Revolution came together to sign of the Declaration of Independence that summer, King George III acknowledges that all was not going well for Britain in the war with the United States.
In his address, the king spoke about the signing of the U.S. Declaration of Independence and the revolutionary leaders who signed it, saying, "for daring and desperate is the spirit of those leaders, whose object has always been dominion and power, that they have now openly renounced all allegiance to the crown, and all political connection with this country." The king went on to inform Parliament of the successful British victory over General George Washington and the Continental Army at the Battle of Long Island on August 27, 1776, but warned them that, "notwithstanding the fair prospect, it was necessary to prepare for another campaign."
Despite George III's harsh words, General William Howe and his brother, Admiral Richard Howe, still hoped to convince the Americans to rejoin the British empire in the wake of the colonists' humiliating defeat at the Battle of Long Island. The British could easily have prevented Washington's retreat from Long Island and captured most of the Patriot officer corps, including the commander in chief. However, instead of forcing the former colonies into submission by executing Washington and his officers as traitors, the Howe brothers let them go with the hope of swaying Patriot opinion towards a return to the mother country.
The Howe brothers' attempts at negotiation failed, and the War for Independence dragged on for another four years, until the formal surrender of the British to the Americans on October 19, 1781, after the Battle of Yorktown.
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George III of England by Allan Ramsay 1762On this day in 1776, in his first speech before British Parliament since the leaders of the American Revolution came together to sign of the Declaration of Independence that summer, King George III acknowledges that all was not going well for Britain in the war with the United States.
In his address, the king spoke about the signing of the U.S. Declaration of Independence and the revolutionary leaders who signed it, saying, "for daring and desperate is the spirit of those leaders, whose object has always been dominion and power, that they have now openly renounced all allegiance to the crown, and all political connection with this country." The king went on to inform Parliament of the successful British victory over General George Washington and the Continental Army at the Battle of Long Island on August 27, 1776, but warned them that, "notwithstanding the fair prospect, it was necessary to prepare for another campaign."
Despite George III's harsh words, General William Howe and his brother, Admiral Richard Howe, still hoped to convince the Americans to rejoin the British empire in the wake of the colonists' humiliating defeat at the Battle of Long Island. The British could easily have prevented Washington's retreat from Long Island and captured most of the Patriot officer corps, including the commander in chief. However, instead of forcing the former colonies into submission by executing Washington and his officers as traitors, the Howe brothers let them go with the hope of swaying Patriot opinion towards a return to the mother country.
The Howe brothers' attempts at negotiation failed, and the War for Independence dragged on for another four years, until the formal surrender of the British to the Americans on October 19, 1781, after the Battle of Yorktown.
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Jumat, 29 Oktober 2010
Weekend East City Event Round Up: Halloween Edition
Saturday October 30
Albus Cavus presents Monster Mash at 680 Rhode Island Avenue NE, Washington DC. Activities begin at 9am and include a magic show, face painting, mask making, pumpkin decorating and prizes. Young and old are encouraged to dress up in their most frightening outfits!
CITY Gallery will close M.M. Panas’s “Action Painting” from 2-6pm at 804 H ST NE second floor; artist will be in attendance. If you want to know more about Panas’s work read an interview with her HERE.
Conner Contemporary Art opens Federico Solmi’s “Douche Bag City”. The New York based Italian animator and sculptor has had one of his recent works “Evil Empire” (2008) censored in France and Spain due to its controversial content. The opening reception is from 6pm to 8pm with artist in attendance. Conner is located at 358 Florida Avenue, NE Washington, DC 20002.
Right next door to Conner Contemporary Art, G Fine Art will open “Mixed Bag” by Dan Steinhilber. During the next six-weeks Steinhilber will create the exhibit in the gallery itself. The opening begins at 6:30pm and ends at 8:30pm. G Fine Art is located at 1350 Florida Ave, NE Washington, DC 20002.
Sunday October 31
Jill Finsen of CITY Gallery will have a solo show at an Art House Open House at 911 G ST SE, Washington DC 20003 from 1pm to 3pm. Finsen’s oil on panel works quote New England coastal landscapes in bright Fauvist colors.
CITY Gallery associate members will be showing their work at Park Café in a group exhibit. The opening will be from 5:30pm to 6:30pm. At Park Café openings, the owner serves wines from his native Chile and finger food to die for. Park Cafe is located at 106 13th ST SE, Washington DC at Lincoln Park.
Halloween and art meet at Design Studio Art Gallery’s “Night of the Living Art”. A group show will feature horror movie inspired work from 5pm to 10pm. Gallery goers are encouraged to come in costume. Design Studio Art Gallery is located at 702 Baltimore Avenue, Hyattsville, MD, 20781
Weekend East City Event Round Up: Halloween Edition
Saturday October 30
Albus Cavus presents Monster Mash at 680 Rhode Island Avenue NE, Washington DC. Activities begin at 9am and include a magic show, face painting, mask making, pumpkin decorating and prizes. Young and old are encouraged to dress up in their most frightening outfits!
CITY Gallery will close M.M. Panas’s “Action Painting” from 2-6pm at 804 H ST NE second floor; artist will be in attendance. If you want to know more about Panas’s work read an interview with her HERE.
Conner Contemporary Art opens Federico Solmi’s “Douche Bag City”. The New York based Italian animator and sculptor has had one of his recent works “Evil Empire” (2008) censored in France and Spain due to its controversial content. The opening reception is from 6pm to 8pm with artist in attendance. Conner is located at 358 Florida Avenue, NE Washington, DC 20002.
Right next door to Conner Contemporary Art, G Fine Art will open “Mixed Bag” by Dan Steinhilber. During the next six-weeks Steinhilber will create the exhibit in the gallery itself. The opening begins at 6:30pm and ends at 8:30pm. G Fine Art is located at 1350 Florida Ave, NE Washington, DC 20002.
Sunday October 31
Jill Finsen of CITY Gallery will have a solo show at an Art House Open House at 911 G ST SE, Washington DC 20003 from 1pm to 3pm. Finsen’s oil on panel works quote New England coastal landscapes in bright Fauvist colors.
CITY Gallery associate members will be showing their work at Park Café in a group exhibit. The opening will be from 5:30pm to 6:30pm. At Park Café openings, the owner serves wines from his native Chile and finger food to die for. Park Cafe is located at 106 13th ST SE, Washington DC at Lincoln Park.
Halloween and art meet at Design Studio Art Gallery’s “Night of the Living Art”. A group show will feature horror movie inspired work from 5pm to 10pm. Gallery goers are encouraged to come in costume. Design Studio Art Gallery is located at 702 Baltimore Avenue, Hyattsville, MD, 20781
Kamis, 28 Oktober 2010
Art House Open House October 31 Featuring the Work of Jill Finsen
| OPENINGS |Opening Reception: Sunday October 31 from 1pm to 3pm
City Gallery will be presenting the work of gallery member Jill Finsen at an Art House Open House located at 911 G ST SE, Washington, DC 20003.
About the Artist
Jill Finsen's paintings explore the formal and emotional content of landscape and still life. A central focus of her work begins with vernacular New England scenes—coastline, architecture, woods and marshes. Raised in Eastern Massachusetts, with summers in Maine and on Cape Cod, she returns to the region as frequently as possible to further reexamine this set of personally iconic elements.
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| Jill Finsen "Sailing Beach Point" Oil on Panel. Photo Courtesy of CITY Gallery |
Finsen's work embodies the spirit of primitive or naïve styles, using composition and color to balance forms and rhythms and the directness of the palette knife to create a distinct and whimsical exploration of surface. With allusions to the works of early 20th century American painters and the Fauvists, Finsen's paintings embody a tension between familiarity and abstraction, drawing viewers in, yet leaving unresolved their placement within the imagined space.
About the Property
911 G Street SE is a two bedroom brick home with a deep shaded yard. While the property has off street parking, you might consider selling your car as you are located within walking distance of Eastern Market, the Metro, the shops and restaurants of 8th Street SE, Ginkgo Gardens and Fragers. The home has retained the charming elements of the past while boasting modern amenities such as a remodeled kitchen complete with stainless steel appliances and granite counter-tops.
The home will be open Sunday October 31 from 1-3PM. For more information about the home contact Realtor Genie Hutinet at 202.413.7661
Art House Open House October 31 Featuring the Work of Jill Finsen
| OPENINGS |Opening Reception: Sunday October 31 from 1pm to 3pm
City Gallery will be presenting the work of gallery member Jill Finsen at an Art House Open House located at 911 G ST SE, Washington, DC 20003.
About the Artist
Jill Finsen's paintings explore the formal and emotional content of landscape and still life. A central focus of her work begins with vernacular New England scenes—coastline, architecture, woods and marshes. Raised in Eastern Massachusetts, with summers in Maine and on Cape Cod, she returns to the region as frequently as possible to further reexamine this set of personally iconic elements.
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| Jill Finsen "Sailing Beach Point" Oil on Panel. Photo Courtesy of CITY Gallery |
Finsen's work embodies the spirit of primitive or naïve styles, using composition and color to balance forms and rhythms and the directness of the palette knife to create a distinct and whimsical exploration of surface. With allusions to the works of early 20th century American painters and the Fauvists, Finsen's paintings embody a tension between familiarity and abstraction, drawing viewers in, yet leaving unresolved their placement within the imagined space.
About the Property
911 G Street SE is a two bedroom brick home with a deep shaded yard. While the property has off street parking, you might consider selling your car as you are located within walking distance of Eastern Market, the Metro, the shops and restaurants of 8th Street SE, Ginkgo Gardens and Fragers. The home has retained the charming elements of the past while boasting modern amenities such as a remodeled kitchen complete with stainless steel appliances and granite counter-tops.
The home will be open Sunday October 31 from 1-3PM. For more information about the home contact Realtor Genie Hutinet at 202.413.7661
CITY Gallery Associate Member Show at Park Cafe
| OPENINGS | Opening Reception: Sunday October 31 from 5:30pm to 6:30pm
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| Image Courtesy of CITY Gallery |
Anne Oman
Tara Hamilton
Marth Huizenga
Sarah Porter
Marilyn Christiano
Liz Lescault
Cissy Webb
Tom Kenyon
Will Fleishell
The represented group works in a variety of mediums including block print, engraving, watercolor, photography and ceramic sculpture.
The work will hang from October 31 through December 10, 2010.
Park Cafe is located at 106 13th ST SE, Washington DC right across the street from the eastern end of Lincoln Park. To make reservation call 202.543.0184 or visit their site at www.parkcafedc.com.
CITY Gallery Associate Member Show at Park Cafe
| OPENINGS | Opening Reception: Sunday October 31 from 5:30pm to 6:30pm
|
| Image Courtesy of CITY Gallery |
Anne Oman
Tara Hamilton
Marth Huizenga
Sarah Porter
Marilyn Christiano
Liz Lescault
Cissy Webb
Tom Kenyon
Will Fleishell
The represented group works in a variety of mediums including block print, engraving, watercolor, photography and ceramic sculpture.
The work will hang from October 31 through December 10, 2010.
Park Cafe is located at 106 13th ST SE, Washington DC right across the street from the eastern end of Lincoln Park. To make reservation call 202.543.0184 or visit their site at www.parkcafedc.com.
Today in History - Boston Residents Cannot Leave 1775
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Boston 1768 Sidney L. Smith after Christian Remick A Prospective View of Part of the Commons 1902 after a drawing from 1768 Engraving Concord Museum MA
On this day in 1775, the new commander-in-chief of the British army, Major General Sir William Howe, issues a proclamation to the residents of Boston on this day in 1775. Speaking from British headquarters in Boston, Howe forbade any person from leaving the city and ordered citizens to organize into military companies in order to "contribute all in his power for the preservation of order and good government within the town of Boston."
Almost four months earlier, on July 3, 1775, George Washington had formally taken command of the Continental Army. Washington, a prominent Virginia planter and veteran of the French and Indian War, had been appointed commander in chief by the Continental Congress two weeks before in an attempt to turn the impromptu siege of Boston, instigated by New Englanders enraged by the Battle of Lexington and Concord the previous April into a congressionally organized inter-colonial revolt against parliamentary oppression. The ad hoc siege of Boston enjoyed it greatest moment when New Englanders under the command of Israel Putnam and William Prescott managed to kill 226 and wound 838 members of the world-famous British army before withdrawing their rag-tag force from Bunker Hill on June 17, 1775.
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1772 George Washington by Charles Willson Peale
The newly minted General Washington was unimpressed upon meeting his supposed army outside Boston a few weeks after their momentous success. Just as the British had during the French and Indian War, he saw "stupidity" among the enlisted men, who were used to the easy familiarity of being commanded by neighbors in local militias with elected officers. Washington promptly insisted that the officers behave with decorum and the enlisted men with deference. Although he enjoyed some success with this original army, the New Englanders went home to their farms at the end of 1775, and Washington had to start fresh with new recruits in 1776.
The British did not leave Boston until March 27, 1776, after Washington's successful occupation of Dorchester Heights 13 days earlier, during which he had turned the cannon captured from the British at Fort Ticonderoga on May 10, 1775 upon the British-held city. More afraid of their own cannon than Patriot soldiers, the British departed, thus allowing Bostonians to move freely in and out of their own city for the first time in six months.
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.jpg)
Boston 1768 Sidney L. Smith after Christian Remick A Prospective View of Part of the Commons 1902 after a drawing from 1768 Engraving Concord Museum MAOn this day in 1775, the new commander-in-chief of the British army, Major General Sir William Howe, issues a proclamation to the residents of Boston on this day in 1775. Speaking from British headquarters in Boston, Howe forbade any person from leaving the city and ordered citizens to organize into military companies in order to "contribute all in his power for the preservation of order and good government within the town of Boston."
Almost four months earlier, on July 3, 1775, George Washington had formally taken command of the Continental Army. Washington, a prominent Virginia planter and veteran of the French and Indian War, had been appointed commander in chief by the Continental Congress two weeks before in an attempt to turn the impromptu siege of Boston, instigated by New Englanders enraged by the Battle of Lexington and Concord the previous April into a congressionally organized inter-colonial revolt against parliamentary oppression. The ad hoc siege of Boston enjoyed it greatest moment when New Englanders under the command of Israel Putnam and William Prescott managed to kill 226 and wound 838 members of the world-famous British army before withdrawing their rag-tag force from Bunker Hill on June 17, 1775.
.jpg)
1772 George Washington by Charles Willson PealeThe newly minted General Washington was unimpressed upon meeting his supposed army outside Boston a few weeks after their momentous success. Just as the British had during the French and Indian War, he saw "stupidity" among the enlisted men, who were used to the easy familiarity of being commanded by neighbors in local militias with elected officers. Washington promptly insisted that the officers behave with decorum and the enlisted men with deference. Although he enjoyed some success with this original army, the New Englanders went home to their farms at the end of 1775, and Washington had to start fresh with new recruits in 1776.
The British did not leave Boston until March 27, 1776, after Washington's successful occupation of Dorchester Heights 13 days earlier, during which he had turned the cannon captured from the British at Fort Ticonderoga on May 10, 1775 upon the British-held city. More afraid of their own cannon than Patriot soldiers, the British departed, thus allowing Bostonians to move freely in and out of their own city for the first time in six months.
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Rabu, 27 Oktober 2010
| EVENTS |
Design Studio Art Gallery Presents: "Night of the Living Art"
| OPENINGS |Opening Reception: Sunday, October 31, 2010 from 5pm - 10pm
The public is invited to attend Design Studio Art Gallery's opening reception for "Night of the Living Art." Prepare to trick-or-treat and bring your children for an alternative haunted house experience. In spirit of this eerie holiday, explore "dark" creativity and view local artists' paranormal pieces which have taken inspiration from classic horror films and pop culture.
To celebrate the "darker half" of the year with Design Studio Art Gallery, all staff will be in costume and attendees are encouraged to follow suit. Night of the living art runs from October 22nd-November 17th.
To celebrate the "darker half" of the year with Design Studio Art Gallery, all staff will be in costume and attendees are encouraged to follow suit. Night of the living art runs from October 22nd-November 17th.
The gallery is located in Hyattsville’s new Arts District at 5702 Baltimore Avenue, Hyattsville, MD, 20781. Contact the gallery at (301) 779-4907 or (202) 446-7373 and by email at info@designstudioartgallery.com Editors Note: New Fall Hours are Wed 10am-6pm, Thur 1pm-8pm, Fri 11am-6pm, Sat and Sun 10am-5pm
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