We are in an 11 story building in Crystal City, Va, across the Potomac from downtown DC. Artists are beginning to install their works in 9 of the floor --two were closed because there is so much space. I have done two of my five 5-hour shifts -- the first was working on a floor to help artists choose their spaces, and the second was last night, making sure that artists are installing their work correctly. Or, rather, making sure that they don't commit no-nos like using more than 100w per electrical plug. Other volunteers were on other floors, or operating the freight elevator, guarding artwork on the loading dock while artists move their cars, counting garbage cans and vacuuming with
industrial vacs. My two shifts were rather lonely, but I'm going to be bar manager on two Saturdays, and that will be hopping. There is a nice, easy-going comraderie amongst the artists, and I enjoyed chatting with the ones who were
installing on my floor.
Mike lugged half of my paintings up to my space (on the 11th floor) and we're going to go back tonight to put them on. I think that I'll put most of the acrylic abstracts on one wall and the musicians series and encaustic paintings on the other wall. I still haven't figured out what to do about the danged door!
Here's what my space looked like last night:
industrial vacs. My two shifts were rather lonely, but I'm going to be bar manager on two Saturdays, and that will be hopping. There is a nice, easy-going comraderie amongst the artists, and I enjoyed chatting with the ones who were
installing on my floor.
Mike lugged half of my paintings up to my space (on the 11th floor) and we're going to go back tonight to put them on. I think that I'll put most of the acrylic abstracts on one wall and the musicians series and encaustic paintings on the other wall. I still haven't figured out what to do about the danged door!
Here's what my space looked like last night:
Here are two artists working hard on the floor I monitored last night - floor 3: Michelle is painting some big tubes which will transform into columns on which she'll put some of her sculptures and stone work.
Robert Kincheloe, of Bull Run Valley Glass, (www.brvglass.com) was installing his glassworks -- a set of 34 branches representing the 100th anniversary of the Japanese gifts of cherry trees to the nation. He also has some drop dead gorgeous fused glass triptychs.
At the end of my shift, I went up to the 11th floor to take a peek at what others are installing. I have to say that this floor was hopping!
Here's some of what I saw.
I'm a big fan of Matt Sesow:
Here's some of what I saw.
I'm a big fan of Matt Sesow:
Michael Auger (www.arty4ever.com) had a fanTAStic room filled with black light-reactive paintings. It's a glow in the dark extravaganza!
Mellissa Burley uses recycled materials for her sculptures, which she lights with halogen.
I love Curtis Woody's works, which he calls "quilt paintings." He begins eafch painting with a geometric design of museum board blocks and then uses many media to tell a story. He also incorporates African symbols and
alphabets. bits from slave narratives, along with vintage photographic images. Curtis says that early 19th century quilt makers sewed secret messages into quilts which were hung from the windows of safe houses on the Underground Railroad. His work is on the 3rd floor is should not be missed.
alphabets. bits from slave narratives, along with vintage photographic images. Curtis says that early 19th century quilt makers sewed secret messages into quilts which were hung from the windows of safe houses on the Underground Railroad. His work is on the 3rd floor is should not be missed.
There are some other artists who work in encaustic here, and i particularly liked this one using ginko leaves.
I don't know who the artist is, though...will have to go back to look.
I don't know who the artist is, though...will have to go back to look.