PROGRAMS
Watch for postcards with details about events and check the WSG email bulletins and website
If anyone would like to assist with programs, or has an idea that s/he would like to spearhead, please email Pattie Firestone
2010: No.3 Fall
MEMBER NEWS Many of the listings below are for shows that are over. The editor feels that this is not a “where to go” section, but a source for showing members what their colleagues have been doing and to honor members’ accomplishments in print. Events that are likely to be available after publication will be marked with The Thinker. Solo shows, feature shows (2 or 3 artists), commissions, honors:
Chris Bathgate, Energy Fields, curated by Sara Tanguy, American Center for Physics Gallery, Wash. DC, through November 5, 2010. Sculpture 1275, lobby 1275 Pennsylvania Ave., NW, Wash. DC, through September 24. Christian Benefiel, Barbara Kobylinska, Christian Benefiel, School Firebird and Hornbill, 33, Members’ Gallery, May – June 2010. industrial extrusion clay, Awarded a Fullbright Grant and going to each about 69"x22" Finland for a year. WSG Programs since Richard Binder and Louise Sennesh, Brush May 2010 and Torch, Orchard Gallery, Bethesda MD, November 17 – December 7, 2010. WSG Annual Picnic June at Emilie Brzezinski’s home and studio. Jackie Braitman, Transparency, Zenith Gallery gaps Greater Reston Arts Center at 1111 Pennsylvania Ave., Wash. DC, Christian Benefiel, Windbag, (GRACE) and Initiative for Public Art – through September 2010. nylon, blower Reston (IPAR) June 2010: exhibit, juror’s salon. Panel discussion with Dale Lanzone. Gallery Chroma Projects, uncounted building- September wall windows multiplied a mile deep into ash- delicate sky… Charlottesville VA, July 2010. Welding Workshop, September 18 & 19 (see page 10 of this publication) Rodney Carroll, Aria, commissioned by Porous Borders reception at Historical Quadrangle Development Corp. for the Society of Washington, DC, Madrigal Building, 4th St. at I, Wash. DC. September 22, 6-8pm Dedication 3-5pm September 30, 2010. 41 Miles North reception at Gallery 405 in Baltimore in collaboration with Jeff Chyatte, two outdoor works, Phi and Tri-State Sculpture Conference at Towson University – see WSG website for details. Elements, commissioned by Chrystal City, on October display in Arlington VA. Jackie Braitman, Almost Through the Glass Ceiling, 36"x38"x38", WSG Annual Member Image Show at Roger Cutler, will be the juror for the Blue Moon glass, stainless steel, aluminum Sumner School with social gathering Festival, at the Blue Elephant Art Center in afterwards, October 28, 6:30-9:00pm Frederick MD, November 20 – 28, 2010. December WSG Annual pot-luck dinner/meeting at Dalya Luttwak’s home, December 4, member news continues on page 3 2010.
WASHINGTON SCULPTORS 2010 #22010 Spring #3 Fall 1 WSG INFORMATION BOARD OF DIRECTORS President: Mike Shaffer The Washington Sculptors Group, founded in 1984, promotes an awareness and Vice President: Craig Schaffer Secretary: Craig Schaffer an understanding of sculpture and fosters the exchange of ideas among sculptors, Treasurer: Nancy Frankel collectors, and the general public through: sponsorship of frequent events, including artists’ panels, presentations, workshops, and social gatherings; co-sponsorship of BOARD OF DIRECTORS programs with museums and other art groups; and organization of professionally COMMITTEES curated exhibitions in museums and alternative spaces in the Washington area Communications Committee and beyond. The work of WSG is carried out by its Board of Directors, along with chair: Joan Weber email bulletin: Joan Weber its nearly 350 members—sculptors, collectors, curators, and others interested in periodical: editor: Rima Schulkind; design, image sculpture—in its working committees. WSG received the Mayor’s Arts Award for management, printing coordination: Stephanie Excellence in Service to the Arts in 2004. Firestone*, distribution: Leila Holtsman; group listings: Carmela Knepler* press: Kyan Bishop membership website: Mike Shaffer, Diane Szczepaniak*, Beth Steel* WSG. Dues for a calendar year (Jan. – Dec.) $45/year, $15/year to students with ID. Exhibitions Committee Current paid-up members have “paid through 2010” above their names on their mailing labels. chair: Kyan Bishop To join/renew, send check to: Washington Sculptors Group, PO Box 42534, Washington Connie Fleres, Jim Mallos, Tom Rooney, Craig Schaffer, Novie Trump DC 20015. PayPal may also be used to pay WSG membership dues through the WSG graphics: Kate Hardy website. To change address or add email address (to receive email bulletin), email Mary Early Grants Committee
2 2010 #3 #2 Fall Spring WASHINGTON SCULPTORS MEMBER NEWS continued
Mary Early – sculpture image on the cover of August 6 Mara Odette, Glenview Mansion, Rockville Civic Center Weekend section of the Washington Post. Park, Rockville MD, November 7 – 30, 2010. Opening Sculpture, Hemphill Fine Arts, Wash. DC, June – reception Nov 7, 1:30–3:30. August 2010. Jane Petit, Imagine a Garden, Seth Goldstein, Nancy Pascale, curator; article in Artique Underground Washington Post Gallery and Volt Restaurant, June 13, 2010 about Frederick MD, August – his sculpture. September 2010. Emily Piccirillo, Artemis Herber, recipient of Work 2006 – a 2009 Franz and Virginia 2010, Artprize Bader Fund award ($1500). 2010, Paderborn, Marie Ringwald, Richard Binder, Open Mary Early, untitled(wreath), Joan Belmar, Germany. Cameron Petke, Dialogue, Arms, stainless steel, 48"x100", wood, beeswax 26.5"x22"x19" Mat Kessler, Work of Courtesy of the artist and Hemphill. Gallery Neptune, Bethesda Photograph by Brandon Webster. a Visually Disabled MD, May – June 2010. Individual, curated Wendy Ross, A Century of Design: the U.S. Commission of by Dr. Carol Hinds, Fine Arts 1910-2010, National Building Museum, Wash. Jewish Community DC, photos and maquette of Transit, a commission Center, Rockville installed at Mt. Vernon Square, Wash. DC, MD, June 2010. May – July 2010. Barbara Kobylinska, Tatyana Schremko, three sculptures acquired by the Sculpture 1275, University of Maryland for their permanent collection. Lobby 1275 Penn. Paula Stern, Ave., Wash. DC. two articles in the Washington Post, by Avis Seth Goldstein, Weedle Dee May – July 2010. Thomas, July 9 and July 12. Laura Thorne, Craig Kraft, Vivace, commission, Watha Inclinations, T. Daniel Library, commissioned Wash. DC. by the University Elaine Langerman, of Maryland, administration George Mason building Largo University, MD, also purchased 12 books purchased Urban for permanent Lights. collection Kari Minnick, Laura Thorne, Inclinations, In the 5.5'x16'x9', mixed media, Clear: New Glass permanent collection UMUC by Kari Minnick, BlackRock Center for the Arts, Eric Carlson, Craig Kraft, Vivace, rolled weatherviz, 2015" Germantown MD, aluminum and neon, 21'x14'x9' June – July 2010. robotically controlled sculpture, activated by Judy Moore, Bill Moore, Glenview Mansion, weather data, Rockville Civic Center Park, Rockville MD, October polyethylene tubing 10 – November 2, 2010, opening reception October 10, and polypropylene 1:30-3:30. mesh Bill Moore, Hillyer Art Space, Wash. DC, December 3 – 29, 2010, opening reception evening of December 3. member news continues on page 4
WASHINGTON SCULPTORS 2010 #22010 Spring #3 Fall 3 MEMBER NEWS continued
GROUP SHOWS Delicacies, Biagio Fine Chocolate, Wash. DC, May – July 2010, including Lou Stovall, Novie Trump. Art in Embassies Program 2009, American Artists Exhibition, ISAMA (The International Society of Art, Exhibition, residence Mathematics, and Architecture) 2010 Conference, of the U.S. Ambassador DePaul University College of Computing and Digital Media, Chicago IL, June 2010 including Elizabeth to UNESCO, Paris, Whiteley. France, including Elaine Langerman. gaps, GRACE (Greater Reston Arts Center) and IPAR, Art Scouts, Arlington Arts curator Vesela Sretenovic, Reston VA, summer 2010, including Dickson Carroll, Brent Crothers, Center, June – August Joel D’Orazio, Jonathan Fisher, Carol Brown 2010, Arlington VA, Mary Goldberg, Artemis Herber, Gale Jamieson, curators included Rebecca Kamen, Ron Longsdorf, Dalya Early, artists included Chrstian Benefiel. Luttwak, David Meyer, Mike Shaffer, Elaine Langerman, Diane Szczepaniak, Janet Wheeler, Art + Space Summer Exhibition, Assorted Bonbons, 10"x8", Millicent Young. painted computer collage Project 4, Wash. DC, including Foon Sham. with glitter glue Great Falls Open Studio, Great Falls Library VA, October Arte Latino II, Pond House Gallery, St. James NY, through 16 & 17, 2010, including Jan September 30, 2010, including Mara Odette. Heginbotham. Artists in Dialogue with Nature, curators Howard and Mary McCoy Human Nature, Earth Center for , Adkins Arboretum, Ridgely MD, the Arts, Harmony Hall, Ft. through September 15, 2010, including Melissa Burley, Breon Gilleran, Tazuko Ichikawa, Washington MD, November 8, Elizabeth McCue, Marilee Schumann, 2010 – January 1, 2011, opening Elizabeth Whiteley. reception November 20, 3-5pm, including Melissa Burley, Howard McCoy, Mary Biggs Museum of American McCoy, Andrea Uravitch. Art, Dover DE,
September 15 – Inaugural Exhibition, newly reopened Jan Heginbotham, October 30, 2010, Touchstone Gallery, 901 New Fisher including Mara Odette. York Ave., NW, Wash. DC, through September 26, Book Power, 23 Sandy opening reception September 10, 6-8:30, including Rima Gallery, Portland OR, Schulkind. June 2010, including Elizabeth Whitely, Kites and Elaine Langerman. Darts, Fiberglass and Informed Design, Long View Central Pennsylvania monofilament line Gallery, Wash. DC, August 2010, including Mary Early, Community College, Barbara Liotta, Gettysburg campus, through October 15, 2010, Ernesto M. Santalla. including Mara Odette. Internationl Ice and Snow Sculpture Colloquy, First on 1st: Bloomingdale Competitions, Harbin China, January 2010, including Art Walk, curator Tatyana Schremko Philippa Hughes, who Wash. DC, won a trophy in one and through August, monetary award in both. 2010, including Minna Newman Nathanson, Rima Schulkind, Tinman, Minna Newman Colloquy, stainless steel, each piece 74"x30"x18", tin cans, Nathanson. 16"x20" steel armature
4 2010 #3 #2 Fall Spring WASHINGTON SCULPTORS MEMBER NEWS continued
Local Artists Show, Hardwood Special Book Collection, George Mason University, Fenwick Artisans, Fairfax VA, May – July Library, Fairfax VA, including Elaine Langerman. 2010, including Stephanie Firestone. Summer Exhibition, Gallery 555, Wash. DC, May – June, 2010, including Irwin Timmers. Memorial Exhibit, Friendship Heights Village Center, town of Somerset The 2010 Regional Juried Exhibition, Delaplaine Visual Arts MD, August 2010 including Education Center, Frederick MD, curator Helen Grabow, Carol A. Jason, Len Harris. June - July 2010 including Elizabeth Whiteley. Travelogue, Caroll Square Gallery, Wash. DC, June – August Of Itself, Athenaeum, curator Foon Sham. T.J. Kirkland, Alexandria VA, 2010, including including Christian Benefiel, Laurel Lukaszewski. Trees of Life II, Zenith Gallery with Chevy Chase Pavilion, Chevy Chase DC, through September 6, 2010, David Hubbard, Joan Konkel, January, Gallery Neptune, curator including Stephanie Firestone, Donna M. McCullough, Jane Pettit, Marcie Elyse Harrison, Bethesda MD, Wolf-Hubbard, Joyce Zipperer. January 2010, including Elaine Triangle Tower, Langerman. stoneware, 13"x4"x4" Women Collared for Work, traveling show, curator Judith Schwab, various venues, last one the Delaware Art Museum, National Juried Ann Stein. Exhibition, February – March 2010, including Marlboro Gallery, What Makes Us Smile, American Visionary Art Museum, Prince George’s Baltimore MD, curators Matt Groening, Gary Panter, Community and Rebbecca Hoffberger, October 8, 2010 – September College, Largo 5, 2011, including Seth Goldstein. MD, juror Molly Donovan, through September 30, 2010, including Rene Lachman.
Of a Fashion, Art Space, Herndon VA, August 2010, including Joyce Zipperer. Laurel Lukaszewski, Propagation, porcelain, 12"x6"x3" each Rockville Art League Show, Glenview Mansion, Rockville Civic Center Park, Rockville MD, May 2010, including Lois Levitan 1st Lois Levitan, Shakti, prize, Elizabeth Steel honorable mention. hydrocal, 1st prize, National Juried Exhibition Sculpture On The Ground, Rockville RAL show Elizabeth Steel, Mocha Swirl, Civic Center Park, Rockville MD, through October 17, alabaster, honorable mention, 2010, including Jeff Chyatte, Don Herman, RAL show John Mors, Bill Wood.
THIS IS THE LAST ISSUE OF THE PERIODICAL TO BE EDITED BY RETIRING PERIODICAL FOUNDER AND EDITOR RIMA SCHULKIND. A search for a new editor is underway. Anyone interested contact Rima
WASHINGTON SCULPTORS 2010 #22010 Spring #3 Fall 5 Featured WSG Board of Advisors Member by Rima Schulkind
Martha Jackson-Jarvis
Philadelphia’s strong public art program. she travels how lucky we are here) but a In high school Martha stumbled into the true art community. There are pockets art room, “re”discovered clay – and never of serious artists, and Martha strongly stopped. From the mud in her grandpar- disagrees with those who say there is not ents’ yard to two years at Howard Univer- a true art community here. sity’s art department and ultimately with ceramic master Rudy Staffel at Temple Barbara Kornblatt, an early dealer of University’s Tyler School of Art, clay was Martha’s, encouraged her to explore in- her focus. She also earned a Master of Fine stallation art, which has come to be her Arts in Sculpture/Ceramics at Antioch main expression. In addition to galleries, University. But she never was a “potter” – she also shows at such alternative spaces she considered herself a builder, with clay as the Washington Project for the Arts as her building material. and Arlington Arts Center.
She found an oasis at Howard – her first Martha has taught master classes at experience in a community of artists. the Maryland Institute College of Art From Prof. Ed Love Martha absorbed (MICA), the Corcoran, and Clemson University, both as part of her job as an Martha Jackson-Jarvis in her studio artist and as a way to “keep the dialogue going”. She hires young artists as ap- Martha Jackson-Jarvis is not only a prentices and mentors them as well as passionate advocate for the role of the teaching them and getting help with the arts in society, but also for the crucial heavy lifting. In 2010 she collaborated role of the artist. She sees the artist not with daughter Njena Surae Jarvis, an only as creator, but as interpreter of both established designer and sculptor, on a temporal and spiritual experience: art is commission for the Cleveland Public Art how we more fully understand what we Commission, Family Circle, and hopes experience. to do more such collaborations. She has been awarded many public art commis- It was in the yard of her grandparents’ ru- sions, e.g. for the DC Commission of ral home where, left alone to explore the the Arts and Humanities, the New York natural environment, she first observed Percent for Art program, and the North and interacted with the organic world. Carolina Museum of Art in Raleigh. There she perceived how the quality of Family Circle light changed what she saw. The ani- Of her commission work, Martha says mals, vegetation, and tools of rural life the values he lived and taught – that art she enjoys the dialogue – often a year- inspired her early perception of herself was a serious mission, an important job of long conversation with people, municipal as a “maker”. Playing in the mud was a work, and that, as we have a short time to officials, and other artists. Out of this serious beginning. be productive, we must make use of the dialectic, the project emerges. She feels opportunity we have. Also at Howard, in passionately that “artists must be in at the At the age of 13 she moved to Philadel- addition to her instruction, Lois Mailou beginning” of any public art planning – phia where her aesthetic awareness was Jones provided a role model as a strong, they bring clarity and vision. enriched by the Philadelphia Museum creative, successful woman. Martha and by the bronze eagle sculpture at moved to DC and found “heaven”. Not Her South Carolina Botanical Garden Wanamaker’s. She was impressed with only free museums (realizing every time project, Ochun, required that she use only
6 2010 #3 #2 Fall Spring WASHINGTON SCULPTORS Featured WSG Board of Advisors Member by Rima Schulkind
is hard working, disciplined, takes no River – long elements of fluid forms cut shortcuts. She has a need to be immersed out of 100 yard long industrial rubber to in a collection of wise, hard working both hang from the ceiling and snake people – artisans as well as artists, to along the floor; Ancestral Bones – paper draw together a creative community. compositions made up of old photo- graphs, botanic illustrations, drawings, Prolific does not begin to describe Mar- with colors derived from the distillation tha’s oeuvre. Public art, private com- of various woods, somehow suggesting missions, museum shows, alternative intricate, delicate coral formations; Vegan Table – an installation of stone, concrete, Notes from the James River steel, and rubber all currently compete for materials found at the site. She views the visitor’s attention in the studio. such parameters as another aspect of an impetus to invention, rather than as In addition to being the creator of a limitations. A dilapidated school, an myriad of completed projects, Martha is involved PTA, and dedicated school the subject of many published articles, in- members under Martha’s guidance cluding one in the International Sculpture culminated in the Cleveland Buckeye Magazine in 2004. When asked where School project Family Circle. It exem- or how she plans to exhibit her as yet plified a belief in the artist’s roll in the venue-uncommited works, her response was an if-you-build-it-they-will-come history of place. In excavating for the Music of the Spheres project, actual stone-age relics were approach, i.e., “I’m always working, so uncovered – which of course Martha art space exhibits, juried competitions, the venue will come.” directly incorporated into the project. and personal studio projects attest not Throughout her description of the com- only to the enormous quantity of her More than with any other interview, my missioning process, there emerged a clear output, but to the incredible variety of her morning with Martha Jackson-Jarvis image of Martha as colleague, persuader, materials and methodology. Martha sees left me overwhelmed. How could I pos- and enabler as well as vision builder. herself mainly as a landscape architect. sibly do justice to her physical and cre- When asked how she became so good at Her studio is a microcosm of her career: ative energy, clearly and effectively articulating joint completed projects composed of stones, her aesthetic goals, she responded “I’m a woman. I’m a standards, her mother. I’m a wife.” (Duh!) The commis- perception of sion of which she is most proud, Music She is indeed making role, her pas- of the Spheres, installed in the entryway sion? Passion- to Fannie Mae in Washington DC, ate is the word consists of seven spheres, 10 x 40 x 40 the most of her that most de- feet, composed of glass, carnelian, jade, fines her. She mortar, and steel. short time here. is passionate about art, her Despite all of her formal art education own and oth- wherein school provided the basics, she ers’; about be- invents the approach to her projects and brick fragments, and glass embedded in ing an artist; their combinations of materials as she cement in various (huge) shapes. And Crossroads/Trickster I about forging goes along. Scale is important to her – many works in progress: her current a n a r t ist ic she likes to work big. Personal, family, commission Wind, Water, Moon consists community; about leaving her mark on local, and African iconography, objects of four eight-foot tall panels of glass the world. She is indeed making the most and mythology inform her imagery. She mosaic for the Chinatown metro station; of her short time here.
WASHINGTON SCULPTORS 2010 #22010 Spring #3 Fall 7 Featured WSG Member by Rima Schulkind
Sean Hennessey
artists who may have influenced his low exhibitor Tim decision to make art his central envi- Tate, cofounder ronment. In addition to experiencing and shining light the work of others, he became intensely of the Washington serious about his own art. He attended Glass School. He Berea College (the first interracial and joined the faculty coeducational college in the South as of the Glass School, well as a work-study institution that teaching classes and charged no tuition). Thus at Berea he using its facilities. was exposed to an odd cultural mix of indigent American and wealthy Sean had begun to foreign students. This strongly affected find his “day jobs” his awareness of the power of cultural (which usually ex- impact and differences. His art major tended well into the provided the important influences of night) taking up Bill Morningstar, his sculpture profes- too much time and Sean Hennessy in his studio sor, and Walter Hyleck in ceramics. focus. There was The two men who shaped the direction Drawing on the King Tut experience, Beacon, not enough time or Sean Hennessy would ultimately pursue Sean’s thesis project consisted of six 43"x13", glass, energy for making were his grandfather and King Tut. His huge dioramic boxes in which he used concrete,steel art. So he left the- granddad’s sheet metal work exposed mythology as a metaphor to examine ater work at the end him to the feel of honest tools and their current issues. of 2004 and started Scenic Artisans, a application, the actuality of making real faux finishing business, which still ac- things. The Treasures of Tutenkamen Needing a job after graduating from cepts some commissions. in 1978 at the Metropolitan Museum Berea, Sean went to work for Virginia’s in New York just blew him away – the Barter Theater and spent three years His studio at the Washington Glass materials, the craftsmanship, the beauty building sets and painting scenery. School is where he creates and casts of the objects still exert their influence With this background he was qualified the large glass pan- on him, literally and metaphorically. to come to work at DC Shakespeare els which are his They impelled him to pursue the les- Theater’s prop shop. There, he ultimately current focus. For sons and images of Greek and Roman painted everything that was made to use Sean’s most recent mythology he then sought and devoured on stage, as well as all the casts required major exhibit at in Bullfinch and Hamilton. Later, he (e.g. dead bodies!). Despite long hours the National In- expanded his focus to include the rich and hard work, this proved to be a stitutes of Health iconography of the Mayans and Aztecs. dream job: in addition to health benefits in Bethesda he in- He loves their rich story telling expla- and vacations, he had access to major stalled eight steel nations of human experience, and per- equipment, and the facilities for creat- framed glass pan- ceived through that cultural expression ing large pieces. He also freelanced at els. Each is a sin- that art is a way of processing life. Wooly Mammoth, Signature, the Ken- gle 43x13x3 pane nedy Center and other area theaters. of k i ln-for med Sean started making art in his early teens, enjoying the process and the Artomatic, Washington’s annual art free- results, but not yet truly committed to for-all, provided an important oppor- A Measure of Value, it. At 17, working at the local Starving tunity for Sean: participating in all but 43"x13", glass, Artists Cafe exposed him to a lot of two of these events, in 2002 he met fel- concrete,steel
8 2010 #3 #2 Fall Spring WASHINGTON SCULPTORS Featured WSG Member by Rima Schulkind
I liken the presence of glass in my art to the ethereal aspect of our lives, our spirit,…
hopes and dreams. I equate the concrete with the realities of earth…and the shell we
use to protect ourselves…covered and encrusted. Yet the glass, our humanity, and the
narratives of our lives still shines through.
slumped glass that he troweled and covered and encrusted. Yet the glass, our clear glass components were translucent painted with concrete and stains. Each humanity, and the narratives of our lives or if the panels were constructed with contains raised elements consisting of still shines through.” opaque backing, so positive glass castings of familiar objects: I called Sean to in- electric materials such as bulbs, cords, These narratives are both personal and quire. His response plugs and sockets; universal; the mythologies individual was an offhanded doors, key locks, and cultural, ancient and contemporary. “Oh yes, there was hand tools, human His work is full of secrets and clues no backing, they hands. While the referencing his own life. And unsurpris- could be backlit or cemented areas are ingly, whimsy plays its own role. hung so the light rough and opaque, shines through, but many of the mold- Unlike many artists, Sean enjoys the they look fine this ed components are challenge of working on commission. way.” Just no angst smooth, clear glass. He relishes engaging with the client’s over what others Other exhibits in- aesthetic perception, figuring out how to might bemoan as clude a solo exhibit fulfill it, how to translate what is wanted improper fidelity at Touchet Gallery into an artistic expression. Rather than to the work. in Baltimore and a feeling hemmed in or controlled by the two person show confines of a commission’s specifics, he No major changes at Blackrock Cen- perceives this as another opportunity loom in Sean’s ter for the Arts in to understand, enhance, and interact A Precious Gift, p l a n s f o r t h e Germantown MD, with someone else. This openness and 43"x13", glass, fut ure. Hav ing both in 2007. Sean curiosity seem qualities integral to his concrete, steel shown and col- Prevailing the has been in many nature. laborated with his Test of Will, juried competi- artist wife, Rania Hassan, he would 43"x13", glass, tions, and served Another atypical quality is Sean’s mod- like to do more such projects. But concrete, steel for several years on esty in exhibiting his work, both in the mainly he would like to keep on doing the WSG Board, arranging special venues and in the manner. I found that what he’s doing – just more intense and programs. after our interview, I was so caught challenging with regard to size and up in his narrative that I had totally complexity. Of his choice of materials, Sean says: neglected to ask about where and when “I liken the presence of glass in my art he had exhibited! He never brought it Every once in a while, I have the plea- to the ethereal aspect of our lives, our up, except for the then current NIH sure of encountering someone who is spirit,…hopes and dreams. I equate the show. Upon visiting that exhibit, be- completely invested in and joyous about concrete with the realities of earth…and cause the panels were hung directly on the life he has chosen. Sean Hennessy the shell we use to protect ourselves… opaque walls, I wasn’t certain that the fits that description beautifully.
WASHINGTON SCULPTORS 2010 #22010 Spring #3 Fall 9 with the artists, the residue of their Fence project, and their participation in this exhibit made it an exciting experience as he led us through the exhibit. Fortunately, the museum now owns this huge archive documenting the Running Fence.
A loss to the art world. Working and exhibiting well into her 90’s, world renown sculptor Louise Bourgeoise died May 31. 2010, at the age of 99.
The Running Fence installation at SMAA In Memoriam: long time WSG member Pat Segnan, July 24, 2010 Christo and Jeanne-Claude: “Remembering the Running Fence” at the Smithsonian American Art Museum (through September 26, 2010) WELDING WORKSHOP George Gurney, Deputy Chief Curator of the museum, met Do you need to add STEEL to your work? WSG members and with WSG members to conduct a marvelous tour of this huge friends are invited Saturday Sept. 18 and Sunday September exhibition that he organized and supervised the installation 19, 9-4pm each day. Material fee $20 per person. Bring your of. Paid for entirely by Christo and Jeanne-Claude, the own lunch. WSG will provide drinks. completed Running Fence existed for only two weeks in 11239 Somerset Ave., Beltsville MD, 301-572-6100 September of 1976. It took 42 months of collaborative efforts For more information please contact with landowners, municipal bureaucrats and the legal system. Nancy Frankel
10 2010 #3 #2 Fall Spring WASHINGTON SCULPTORS Joanne Bauer, Exhibitions Director of GRACE, addresses the audience gaps Reception
Left to right: Dalya Luttwak, host Emilie Brzezinski, Paula Stern
WSG Annual Picnic
Kyan Bishop, left, and WSG President Mike Shaffer
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INTERNATIONAL SCULPTURE CENTER & SCULPTURE MAGAZINE 19 FAIRGROUNDS ROAD, SUITE B, HAMILTON, NJ 08619 PHONE: 609-689-1051 EXT 301 FAX: 609-689-1061 EMAIL: [email protected] THANKS TO OUR GENEROUS DONORS Call for Entries: WHOSE CONTRIBUTIONS HELP MAKE ALL WE DO POSSIBLE: 41 Miles North: (already announced in Constant Contact) has Gordon Alt Virginia Mecklenburg extended its submission deadline to September 12. See WSG Meila Balcus Gary Merrill website for details. M.G. Barkovic William Moore Maria Barbosa Brenda Olufuma-Scott Blue Moon Festival: Juried by Roger Cutler. The theme of the Lional Bernstein Janet Pettit show is art you only see “once in a blue moon”. All media are Dennis Beach Massimo Righini welcome. The show will run from November 20 to November Eric Carlson Marie Ringwald 28, 2010 and will be held at the Blue Elephant Art Center in Craig Kraft Tom Rooney Frederick MD. Deadline for entries is November 5. Contact: Eric Fine Françoise Yolahem [email protected] for submission information. Frank Fishburne Phillip Scarpone David Furchgott Mike Shaffer Michael Gessner Mary McCoy Another gallery closing in the area. Gallery Neptune Breon Gilleron Elizabeth McCue has shown the work of many WSG members. While owner Janet Gohres Linda Smith-Bugge Elyse Harrison will continue her involvement in art education, Carol Goldberg Robert Strini Craig Kraft Maria Simonsson her exhibition space in Bethesda will no longer operate as a Vivian Lassman Robert Sanabria gallery. Carol Levin Tatyana Schremko Rosella Maxwell
WASHINGTON SCULPTORS NEXT DEADLINE December 10, 2010
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12 2010 #3 #2 Fall Spring WASHINGTON SCULPTORS