Inspired by Bangladesh to go solar!

[A guest post from FY15 Artist Fellowship Program (AFP) Grantee Monica Bose]

In January 2013, I traveled to my ancestral village, the remote island community of Katakhali, Bangladesh as part of my collaborative art and advocacy project, STORYTELLING WITH SARIS.  As soon as I got off the ferry onto the small fishing boat that would take me to the island, I noticed a small solar panel on top of the boat.  After a two hour boat ride, we walked the final leg (about one hour) to Katakhali Village.  The project involves writing, printmaking on saris, oral history and video with 12 Katakhali women who have recently learned to read and are battling the impacts of climate change.  I spent 10 days on the island and visited all 12 women’s homes.  I was surprised to find that several of them had small solar panels on their scrappy tin roofs.

When I asked the women where they got the solar panels and why, I was amazed by their clear understanding of the economic and other benefits.  First, they said, “Solar is clean — there is no smoke like when we burn oil and our children can study at night.” And then they explained, “After three years, it’s free!  And we can can have plenty of light at night from the sun that shines during the day.”  They told me that they had entered into three year contracts where they pay a monthly fee (of about 300 takas, approximately $5 but more than 20% of their monthly income).  At the end of three years, they own the panel outright.  The panels are made locally in Bangladesh. Katakhali is off the grid and solar energy is making huge inroads there as well as all over Bangladesh.  I started thinking about how fantastic it was that these women, many of whom had only been to 1st or 2nd grade, had figured out that it made sense to invest in solar. And if the poorest people in the world can put 20% of their income toward solar energy, shouldn’t I be willing to do it also?  After all, as Americans we contribute to one-fourth of the world’s carbon emissions and our per person energy consumption is astronomically high.  Our overuse of fossil fuels is creating climate change, and unless we cut those emissions fast, Katakhali and 20% of Bangladesh’s landmass will be submerged under the sea along with other coastal areas around the world.  Ironically, Bangladesh only contributes a negligible amount to carbon emissions but stands to lose the most.  Climate change is clearly the most important moral issue of our time and I felt compelled to take personal responsibility and integrate renewable energy into STORYTELLING WITH SARIS.

After returning to DC, I started researching solar and other renewable energy options and found out that the federal government is giving a 30% tax credit toward the total cost of solar installation — the panels, the labor, everything!  Plus there are even bigger incentives available in DC, where you can sell your future solar energy as credits (Solar Renewable Energy Credits or SRECs).  I also learned that I can ask Pepco to buy renewable energy for me and decided to switch to local wind energy.  I still get my bill from Pepco but Pepco buys wind energy equivalent to my usage.  It’s not a direct transfer of wind energy into my home, but it forces Pepco to move towards more renewable energy.  In Spring 2013, I got more information on renewables at environmental conferences and reached out to some of the folks in DC who are organizing solar coops and otherwise promoting solar energy, like the World Wildlife Fund.   Once I understood the math, the decision was easy.  I decided to go ahead and buy my own solar panels (you can also rent them, which is free, but then you don’t get the upside).  In three years, I should make back my investment, and the rate of return is much higher than mutual funds. I next put my information into a solar bid website, and voila! I started getting dozens of emails and calls from various installers.  It was too much to handle and I was starting to get overwhelmed.  In the end, I selected a solar installer not based on the lowest bid, but based on a recommendation from someone I know.   That was back in April 2014, and I finally have my solar panels up and approved by the DC government just now in January 2015.

Rooftop Solar Panels
Rooftop Solar Panels

What took so long?  Well, we had to figure out the financing and get some loans. (I hope to have the loans mostly paid back once I get my tax rebate and sell my SRECS this spring.)  And then I had to get my roof up to shape to make sure that it can properly hold the solar panels for years to come.  I have a 100-year old townhouse with a partially flat roof, and we found out right before solar installation that it needed an upgrade.  I now have 31 top-of-the-line solar panels, each with a micro-inverter that measures the amount of energy absorbed.  I can monitor it on my laptop.  I’m impatiently waiting for it to be hooked up by Pepco.  Once that is done, the energy generated by my panels will go directly into my house and be used toward my energy needs.  Any excess energy that I don’t use will enter the Pepco grid and be used by others but I will get credit for it. So, when I’m on vacation in the summer, I’ll still be getting usable energy from my roof.

So why are my solar panels part of my art project?   Because the goal of  STORYTELLING WITH SARIS is to use the inspiring personal stories of 12 women from Katakhali to activate Americans to reduce our carbon footprint.  After meeting the women and seeing first hand how resilient and empowered they are, and how bravely they are standing up to climate change, I realized that I want to follow these women over the course of at least a decade to see how their lives evolve along with climate change.  And I want this project — these women’s actual lives – to trigger change and lead to action on climate.  I also feel a deep personal connection with Katakhali, where my mother was born and raised.  It is a stunningly gorgeous place to boot, with no trash, no cars, no stores, and the most wonderful people.  As an artist, I have decided to merge my art with my advocacy.  It’s not enough for me to care only about aesthetics and theory.  I need to reduce my own carbon footprint and work to convince others to do the same.  Our world is in crisis, and I want to use art to create an emotional trans-border connection between the United States and Bangladesh.  Renewable energy is the future of our planet — it is the clear answer to combatting climate change.  If we are willing to pay for solar and other renewable energy, we can consume all the energy we want and not even cut back on our lifestyle.  We each have to be willing to make a short-term financial sacrifice for the future of our planet.

On January 30, 2015, I am heading back to Katakhali to meet with the women again and to organize a climate information sharing and adaptation workshop in partnership with the International Centre for Climate and Development.  We will also be doing a new series of woodblock sari prints, using imagery with references to climate change and renewable energy.  In DC, I have launched a series of workshops where participants write and print pledges to reduce carbon footprint on saris.  These saris will be used for a performance in DC and eventually be sent to Katakhali to be worn by women there.

I will report soon on how my new panels are working and what impact it has on my energy bill.  I will also be blogging from Katakhali about my experiences there.  Do contact me if you want to learn more about renewable energy and how to reduce your carbon footprint at monicajahanbose@gmail.com.  The federal 30% solar credit might not be extended beyond 2106, so now is the time to act!  Please follow my blog on Facebook and storytellingwithsaris.com/blog.

— Monica Bose, FY15 AFP Grantee

NARA Family Program for the Cherry Blossom Festival Contract Museum Educator

nationalarchivesNARA Family Program for the Cherry Blossom Festival Contract Museum Educator

STATEMENT OF WORK

Cherry Blossom Program Museum Educator

Project Summary

The National Archives and Records Administration (NARA) seeks a contractor to coordinate the program development and planning for the National Archives’ family day in celebration of the 2015 National Cherry Blossom Festival.

Work includes

  • communicating with staff about goals and progress
  • creating activities based on National Archives records
  • managing program implementation, including creating a staffing plan, determining a supply list, and supervising the event
  • evaluating the program, establishing a filing system, and maintaining records

Context: National Archives and Records Administration Museum and Boeing Learning Center

The National Archives Museum, located at 7th and Constitution Avenue N.W. in Washington, D.C., is visited by thousands of visitors from around the world every year. The Museum demonstrates the breadth and scope of records of the National Archives and how they touch every aspect of our lives.

The Boeing Learning Center is located on the upper floor of the National Archives Museum; and inside, visitors of all ages can explore and participate in many activities. The hands-on activities encourage historical discovery and include document facsimiles from the holdings of the National Archives, online resources, scavenger hunts and more. The center also hosts a variety of workshops for students and teachers including the Constitution-in-Action Learning Lab.

The Education and Public Programs staff offers a wide range of programming and activities connected to the holding of the National Archives and designed to meet the needs of diverse visitors.

Friendship Between Nations Family Day

To work towards this end, during the National Cherry Blossom Festival, the National Archives will host a special family day with the theme of “friendship between nations.” This will take place on March 28, 2015, from 10 a.m.-4 p.m. in the Boeing Learning Center at the National Archives Museum.

The primary audience for this program is families, both local and from all over the country. The expected visitor turnout is between 500-1000. Some visitors will come specifically with event attendance in mind while others will be visiting the museum and happen upon the family day.

The theme “friendship between nations” comes from the idea that the United States government gives and receives gifts to other countries to show friendship and goodwill. These gifts include the cherry trees from Japan, as well as others such as the Statue of Liberty from France and the carillon from the Netherlands. Records in the National Archives document these gifts between nations.

Project Components

  • Research, develop and produce three (3) hands-on activities based on National Archives records with the focus on the theme of “friendship between ” Activities should target multiple learning styles and abilities. These activities should offer a range of experiences to interest a wide variety of ages. The activities will be used for the March 28 family day. Deliverable: three activities, including required supplies, staffing needs, instructions for facilitators by Friday, March 20, 2015. The activities must meet standards agreed upon at the first planning meeting for the project.
  • Communicate with staff regarding activity content and Work with NARA public affairs staff and National Archives Foundation marketing staff to publicize the family day. Communicate with volunteer coordinator regarding staff needs for the family day. Work with education staff and special events on logistics and set-up needs.

Deliverable: weekly summary of progress sent to NARA representative; attendance and participation at all scheduled planning meetings.

  • Act as lead/point of contact (poc) for the March 28 family Coordinate set-up and clean-up, as well as work with staff and volunteers during the event.

Deliverable: activity set up plan and family day staffing assignments by Wednesday, March 18, 2015; attendance at the family day, from 9 a.m. to 5 p.m.

  • Upon conclusion of event, evaluate all aspects of the family day, including attendance, publicity, and staffing; make recommendations regarding any necessary future modification of all three Insure that all files and materials from the event are organized, put away, and available for future use.

Deliverable: evaluation document containing attendance numbers, comparison of the quantity of supplies prepared to the quantity used, assessment of the successes of the publicity, highlights of program successes, recommended improvements; complete files for the program, including instructions for facilitating the activities, sources for supplies, and complete citations for all National Archives materials referenced.

Scope and Timeframe

All project activities and deliverables will be completed no later than April 10, 2015, (two weeks after the March 28 family day).

The nature of the project demands that a portion of this work will be conducted onsite at the National Archives. The National Archives will supply a desk, desktop computer, shared printer, telephone, and printer paper for the duration of the contract.

PROPOSAL PREPARATION INSTRUCTIONS:

On or before midnight Eastern Time on February 1, 2015, applicants are expected to provide a proposal via email to education@nara.gov. Applications need to demonstrate that they meet the goals and deadlines of the project and that the applicant has the ability to accomplish all of the project tasks.

Proposal

The proposal shall address the statement of work and deliverables sections outlined above and should contain sufficient quantitative and qualitative details to allow a complete and accurate evaluation. When preparing proposals, consider the evaluation criteria set forth below, as they will be used to evaluate the proposals.

Evaluation Criteria

  • Plan of Accomplishment

Provide a thorough narrative explanation of the project plan that includes a budget and a timeline. The proposal should describe the plan for completing every aspect of the work requested.

A schedule of deadlines for deliverables should be included in the proposal, including those identified above in the Deliverables section and any additional key deadlines proposed by the applicant.

  •  Resumé

The applicant should provide a resume that states all experience as it relates to this project.

  • Cost Proposal

Cost proposals should address pricing of the all work described in this document. The chosen applicant will need to be able to be paid via credit card or have, or be able to get, a DUNS number.

Event supplies will be purchased by the National Archives, according to the plans developed in the course of the project. The cost of the supplies will not exceed $225.

Proposal Evaluation

The applicant who is chosen shall be the one whose combined cost and proposal best meets the needs of the National Archives education staff and the National Archives. If multiple proposals rank highly, the applicant may be asked for an interview.

Inquiries

Inquiries should be directed via email to education@nara.gov.

Interviews

It is the intention of the NARA education team to interview a select group of applicants; however, it is possible that interviews may not occur. Consequently, it is important that all responses to this request be complete and include all necessary information.

Submission of Proposals

The National Archives reserves the right to reject any or all proposals received in response to this request, and to negotiate separately with any applicant when such action shall be considered to be in the best interest of the National Archives. After limited negotiations or based solely on initial offers received, notice will be provided indicating that an award may be made. It is therefore emphasized that all proposals should be submitted initially on the most favorable terms that the applicant can submit. Written proposals must be received by midnight Eastern Time, on February 1, via email to education@nara.gov.

Disposition of Proposals and Materials

All information submitted in response to this request and execution of this proposal shall become the property of the National Archives and shall not be returned.

DC Commission on the Arts and Humanities Announces INNOVATE DC – Special Arts Initiative Grant

InnovateDC

Up to $100,000 of funding offered for innovative arts projects in Washington, DC

(Washington, DC) – Today the DC Commission on the Arts and Humanities (DCCAH) announced the Innovate DC Special Arts Initiative, which offers one-time grants up to $100,000 to District-based 501(c)(3) nonprofit arts and community-based organizations.

The grant is aimed to reward projects that encourage and maintain the long-term development and impact on the arts, humanities and Creative Economy in Washington, DC.

Innovate DC is a funding initiative of the DCCAH that best reflects the creativity and entrepreneurial spirit of the District of Columbia’s arts, humanities and cultural sectors. This new initiative strongly supports Mayor Bowser’s Administration’s efforts to advance a fresh start with programs that are creative, innovative and improve neighborhoods in the District. Funding opportunities have been expanded to include culinary arts, fashion, graphic design, digital media and film.

“The Creative Economy is responsible for more than 112,000 jobs here in Washington, DC,” said Edmund Fleet, Chair of DCCAH. “This initiative will help ensure continued growth and expansion of the arts and support exciting ideas that will have a positive impact on the District.”

“Innovate DC encourages organizations to make a creative and strategic departure from their standard practice,” said Lionell Thomas, Executive Director of DCCAH. “In particular, we encourage applicants to explore collaborations that expand the reach of the arts, humanities and the Creative Economy, as well as public-private partnerships that are responsive and impactful.”

Applications will be available online at www.dcarts.dc.gov beginning Wednesday, January 28, 2015. DCCAH will hold a series of grant writing workshops in February. Applications for the Innovate DC grant will be due Thursday, February 26, 2015. For more information, contact Derek Younger or Moshe Adams, DCCAH Director of Grants, at 202-724-5613.

About the DC Commission on the Arts and Humanities

The DC Commission on the Arts and Humanities provides grants, professional opportunities, education enrichment, and other programs and services to individuals and nonprofit organizations in all communities within the District of Columbia. The Arts Commission is supported primarily by District government funds and in part by the National Endowment for the Arts.

 

Submissions for the White House Student Film Festival for one more week

wh-seal-email-friendly

Are you a student filmmaker with big ideas about the importance of service and giving back? Do you know a young person who is?

Then we’re glad you’re reading this, because we’re only accepting submissions for the White House Student Film Festival for one more week.

Here’s how it works:

Any K-12 U.S. student can submit a film that’s three minutes long or shorter. You can read more about the submission guidelines here.

We’ll feature the official selections on the White House website, and share them across the Internet on official White House accounts. And if you’re selected, you might even have the chance to attend the film festival yourself, at the White House.

Along with representatives from the American Film Institute and other White House staff, I’ll be taking a look at every submission we get — and last year, we got some great stuff. Take a look at the official selections of 2014:

Watch the official selections from last year's Film Festival.

So if you still want to submit a film, or you know someone who does, it’s time. Break out the lights, write a script, get your camera ready, and show us what you’ve got.

You can learn more and enter your submission here.

We can’t wait to see what you’ll make.

Thanks,

Adam

Adam Garber
Video Director
The White House

DC Jazz Festival Announces 2015 Headliners, Featuring a Diverse Array of International Talent

DCJazzFest

Jazz Greats and More to Perform Across the Nation’s Capital, June 10-16

The fastest growing jazz festival in the U.S., the DC Jazz Festival® (DCJF), today announced some of this year’s headliners, a diverse selection of renowned and emerging artists performing in venues across the nation’s capital, June 10-16. Locally, nationally and internationally acclaimed artists confirmed for the 2015 DCJF include multiple award winner Common, several Grammy winners and nominees including Esperanza Spalding, Femi Kuti & The Positive Force, The Bad Plus Joshua Redman, Snarky Puppy, the acoustic jazz supergroup The Cookers (2014 iTunes Jazz Album of The Year designees), Karl Denson’s Tiny Universe, and NEA Jazz Master Paquito D’Rivera, among numerous other outstanding artists (with more to come).

The DC Jazz Festival is dedicated to showcasing the wealth of great artists based in our community. This year’s festival will feature popular local artists including saxophonist Marshall Keys and the swinging, honeyed vocal tones of Sharón Clark.

“We are delighted to dive into our second decade presenting a lineup that will ensure we continue to attract jazz lovers from around the world to enjoy our nation’s original art form in D.C.,” said Sunny Sumter, Executive Director of the DC Jazz Festival. “The Festival helps shine a light on our mission, which has always been to celebrate jazz in our nation’s capital, promote music integration in school curricula and to expand and diversify the audience of jazz enthusiasts across the globe.”

As the largest and most diverse music festival in the nation’s capital, the DCJF reaches more than 60,000 visitors of all ages each year.

“This remarkable array of talent – with much more to come – exemplifies the broad range of modern music expressions of the jazz esthetic and beyond,” said DCJF Artistic Director Willard Jenkins.

The Festival’s outdoor showcase at The Yards Park on the Anacostia River returns for the third straight year, by popular demand. Dubbed “DC Jazz Festival and Events DC Present: Jazz at The Yards,” the event features a weekend of cool music, jazz extensions, and first-class performers in a gorgeous setting.

Also returning for another year is Jazz at the Hamilton Live, presented by the DC Jazz Festival and The Washington Post. “The Post is proud to continue to present Jazz at the Hamilton Live DC and help bring jazz legends and award winning artists to downtown D.C.,” said Steve Hills, President and General Manager for The Washington Post. “The mix of timeless classics and rising stars creates an eclectic series for jazz lovers of all kinds.”

2015 Festival highlights and primary venues include:

The DC Jazz Festival and The Washington Post Present Jazz at The Hamilton Live (June 10-16), features seven nights of exciting, eclectic performances. Performers include such acclaimed artists as NEA Jazz Master Paquito D’Rivera, Grammy Award winning band Snarky Puppy; the prolific guitarist, composer and bandleader Charlie Hunter; multi-genre drummer Stanton Moore, the amazing Columbian harpist Edmar Castaneda, and virtuoso saxophonist Joshua Redman in a unique partnership with the genre-bending trio The Bad Plus, recently voted #2 Best Jazz Group in the esteemed 62nd annual DownBeat magazine Critic’s Poll.

DC Jazz Festival and Events DC Present: Jazz at The Yards (June 12 & 13), is an exclusive blowout where fans can enjoy jazz at the beautiful urban, green, innovative Capitol Riverfront at The Yards overlooking the Anacostia River; wine and beer tastings; chef demonstrations; and a marketplace. The event features such vital artists as Grammy Award-winning hip-hop legend Common, who took home a Golden Globe and is nominated for an Academy Award as co-writer in the Best Original Song category, for “Glory,” from the film Selma, and whose beyond category artistry has collaborated with jazz artists ranging from Roy Hargrove to Robert Glasper, as well as R&B titan John Legend and Femi Kuti; jazz bassist, bassist-vocalist Esperanza Spalding, the first jazz artist to ever win the Grammy Award for Best New Artist (2011); Nigerian singer- songwriter and multi-instrumentalist Femi Kuti,(son of Afrobeat legend & Broadway show subject FELA Kuti); and beyond jazz & jam saxophonist, flutist and vocalist Karl Denson’s Tin y Universe (KDTU), who’ve toured most recently with The Rolling Stones.

Jazz in the ‘Hoods presented by Events DC (June 10-16), features more than 45 clubs, restaurants, museums, libraries, loft spaces, and hotels across the District. This includes the CapitalBop D.C. Jazz Loft Series featuring innovative, boundary-breaking and beyond-jazz artists, and the East River JazzFest featuring half a dozen “Celebrating Stayhorn!” performances honoring the 100th anniversary of composer William “Billy” Strayhorn. Jazz in the ‘Hoods performances will also be held at Bohemian Caverns, Twins Jazz, Gallery O/H, National Gallery of Art Sculpture Garden, THEARC, Sixth and I Historic Synagogue, the Kennedy Center’s Millennium Stage, the Japanese Information and Culture Center, and other venues across DC.

Jazz ‘n Families Fun Days (Prelude Event, June 6-7), in partnership with The Phillips Collection, celebrates the synergy between jazz and the visual arts with performances in The Phillips Collection’s Music Room and auditorium by more than a dozen regional artists and rising star ensembles. The two-day free family-friendly event will feature storytelling, unique meet-the-artist opportunities, an instrument petting zoo, art workshops, a jazz passport scavenger hunt, and more!

For more information visit www.dcjazzfest.org.

Keep up with the DCJF:

 

DC’s Hot Hits & Hidden Jewels; Friday, January 30 – Sunday, February 1

Check out this weekend’s Hot Hits & Hidden Jewels from CultureCapital, your link to the Arts in Metro DC.

NMWA NightsNMWA Nights: Merry Making
National Museum of Women in the Arts. Fri.
Enjoy refreshments, try your hand at activities and take themed tours of the exhibition and museum’s collection. Reservations recommended for this 21+ event. Ticket price includes one drink coupon and all craft materials.

SkyscapeSouth Capitol Skyscape: Amber Robles-Gordon
Washington Project for the Arts at Capitol Skyline Hotel. Fri. & Sat.
Created through her signature assemblage process combining textiles and found objects, the work takes new form using a recycled hammock as its support and foundation, representing the structural constructs of the past and the restrictive patterns of repetitive thinking.

GigiGigi
Kennedy Center.
Starring Vanessa Hudgens, Eric Schaeffer directs a world premiere production of Lerner and Loewe’s musical comedy, where true love between a free-spirited young woman and a wealthy young playboy must overcome the conventions of turn-of-the-century Paris.

CultureCapital. Your Metro DC Arts Alliance for over 30 years.

Addison/Ripley presents: NATURAL ALLUSIONS, opening receptions, Saturday, January 31st

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Carson Fox, Orange Coral, 2014, resin, dimensions variable

ISABEL MANALO   LINDA CUMMINGS   JUDY HOFFMAN   CARSON FOX   MERLE TEMKIN   JACKIE BATTENFIELD   JULIA BLOOM 

NATURAL ALLUSIONS

curated by Jackie Battenfield

 JANUARY 31 – MARCH 14, 2015 

OPENING RECEPTION FOR THE ARTISTS 

 SATURDAY, JANUARY 31, 5-7PM 

Julia Bloom, Clear Forest #3, Red, 2010-13, sticks, wire, paint, 73 x 17 x 16 inches
Julia Bloom, Clear Forest #3, Red, 2010-13, sticks, wire, paint, 73 x 17 x 16 inches
Linda Cummings, Surface Notes I & II, 2014, archival pigment print on cotton rag paper, 60 x 20 inches, courtesy of dm contemporary
Linda Cummings, Surface Notes I & II, 2014, archival pigment print on cotton rag paper, 60 x 20 inches, courtesy of dm contemporary

As a hopeful prelude to Spring, Addison/Ripley Fine Art is very pleased to bring together, under the stewardship of longtime gallery artist, Jackie Battenfield, an exhibition which includes her work as well at that of some of her peers. These seven artist, working in New York, Washington, DC and Berlin, refer to, take from and are, obviously captivated by nature in all its comely display, but as one artist, Carson Fox, puts so succinctly, “I am interested in beauty but I mistrust it.”

The exhibition features the work of artists who explore specific aspects of nature through painting, photography, prints and sculpture. The artists strip down, enlarge, and reconstruct to present the complexity of natural systems and to analyze the basic elements of landscape.

Merle Temkin, Three Sisters, oil on canvas, 42 x 36 inches each
Merle Temkin, Three Sisters, oil on canvas, 42 x 36 inches each

Julia Bloom’s paintings and standing structures poetically assess the innate architecture of tree trunks and the humble bird’s nest to capture the fragility and evanescence of light, air and shadow found in the forest. Hints of landscape emerge in Isabel Manalo’s mixed media works, like a puzzle to be solved through judicially collaged snippets of foliage, forests and bare trees.

Themes of continuance resound as Carson Fox mines the crystalline and coral forms, thousands of years in the making, in her vividly hued cast and carved resin freestanding structures and wall installation. In sharp contrast, Judy Hoffman’s ceramic sculptures use the malleability of clay to evoke ancient, caked, and encrusted organisms arising from primordial ooze.

Judy Hoffman, Wildtype 21, 2013, ceramic and oxides, 14.75 x 14 x 7.5 inches
Judy Hoffman, Wildtype 21, 2013, ceramic and oxides, 14.75 x 14 x 7.5 inches

Linda Cumming’s photographs (courtesy of dm contemporary), literally cascade from the walls of the gallery, depicting the interplay of light and movement on a river’s rippling surface, created by her hand, submerged drawings, wind, and current. Reconstructing the unfolding and leafing of a branching tree limb, Jackie Battenfield’s luminous paintings on translucent Mylar, also explore the distinctive evaporation patterns of paint pigments suspended in an aqueous mix. Merle Temkin approaches her canvases from a sculptor’s perspective, beginning with a tree’s silhouette and using paint to “carve away” at the negative space and retaining the edges of each color layer until the lacey, branching form is revealed.
The artists in Natural Allusions are inspired by nature. They probe into and deconstruct elements of landscape and botanical forms in their grandeur, chaos and growth to reaffirm our enduring connection to the physical realm.

For more information about the artists and their work, images from the exhibition or to schedule an appointment to view the work, please call Ms. Romy Silverstein at 202.338.5180.

The gallery is located at 1670 Wisconsin Avenue in Upper Georgetown at the intersection of Wisconsin Avenue and Reservoir Road.

Isabel Manalo, Charade, 2011, oil & cut photographs on Yupo, 21 x 27 inches
Isabel Manalo, Charade, 2011, oil & cut photographs on Yupo, 21 x 27 inches
Jackie Battenfield, Blue Scoops v2, 2014, acrylic on Mylar panel, 40 x 30 inches
Jackie Battenfield, Blue Scoops v2, 2014, acrylic on Mylar panel, 40 x 30 inches

1670 Wisconsin Avenue, NW . Washington, DC 20007 . 202.338.5180 . Fax 202.338.2341 . www.addisonripleyfineart.com

Form and Function in  Fox Cried

[A guest post from FY15 Artist Fellowship Program (AFP) Grantee Jane Claire Remick]

I’ve only been on one blind date in life thus far, and I’m pleased to say that I’m still in that relationship two years later. I was invited to collaborate with two strangers to complete a short work in January 2013 as part of the Source Festival’s Artistic Blind Dates program. I work in installation/performance/new media and was paired with composer/musician Ethan Foote and actor/playwright Jack Novak. The number of slashes employed to describe our artistic endeavors is indeed characteristic of the ever-expanding interdisciplinary nature of our ongoing collaboration, Fox Cried.

Fox Cried can certainly be described as a play. It follows a loose script; however, it is also part academic panel, installation, improvisation, movement, performance art, video art, and music. The interdisciplinary nature of the collaboration challenges some of the traditional roles of a theater company as we work on and develop the hour-long performance.  In addressing each element of the performance – music, script, staging, or objects — we each have a voice. Nonetheless,  as the collaborator most responsible for the visual elements of the piece, I’ve been spending quite a lot of time crafting masks and artifacts required to recreate the Fox Cried myth in the most accurate way.

Jane Claire Remick

As a visual artist, this leads me to question the role of sculptural objects used in a performance  vs. props in a play. In this case,  I am certainly making props. The objects I’ve created and collected establish the setting of the piece and are used by the actors as they move the action of the performance forward on stage. Still, as a conceptual artists, I am simultaneously attempting to convey the conceptual foundations of the piece in the way I combine and craft these objects. I am using materials and forms that address many of the dialectical relationships explored in the piece: authenticity vs. construction, narrative vs. experience, the sacred vs. the vernacular.  In creating a fox mask, for example, I’m not simply attempting to portray myself as a fox or making choices based on aesthetic preferences. I’m looking for a way to create an archaic, ritual-looking form with new, consumer materials in order to explore the way that the meaning of the old is constructed in a contemporary context.

The website we’ve created for the piece provides another interdisciplinary platform, where the content is probably most in service to the conceptual foundations of the work. Of course CenterForUnearthedStories.org is a practical promotional tool, where audience can find, showtimes, buy tickets, and get other relevant information about the piece. However, the website itself is a performance site, where we have carefully constructed the world of the play with written and video content (follow facebook.com/FoxCried for updates). The play relies heavily on self-performance; that is to say that Ethan, Jack, and I play ourselves. Pages such as CenterForUnearthedStories.org/MythBlog! carefully establish who we are and our relationships to the Fox Cried myth outside of what happens on stage. Living in an atmosphere where one’s digital presence is in many ways more prevalent than face-to-face interaction (indeed, we’ll probably reach a greater audience on Facebook than in the the theater), including an online platform for the work seemed natural.

Facebook and Twitter were actually one of the topics that Ethan, Jack and I spoke about on our first “blind date,” and that tension between what’s real and what’s constructed and how both are experienced remain foundational to the piece. Indeed there are elements of truth and deception throughout the performance (onstage and online), but I won’t reveal any spoilers here. You’ll just have to come see what Fox Cried, A contemporary vision of mythic passion, has to offer and sort it out for yourself!

— Jane Claire Remick, FY15 AFP Grantee

Fox Cried at the Back Alley Theater
Jan 30 – Feb 1
Get tickets here
Like Fox Cried on Facebook here
Visit Fox Cried‘s website here
See Jane Claire Remick’s AFP Spotlight here

Washington Bach Consort seeks Patron Services Manager

wbc
Patron Services Manager
Washington Bach Consort
Part-time Position 
Position Summary
The Washington Bach Consort, the nation’s premiere baroque orchestra, is seeking a part-time Patron Services Manager. Reporting to the Executive Director, the Patron Services Manager will lead the Consort’s ticketing; support individual giving programs; and work closely with Consort’s External Affairs Manager and Board of Directors. The ideal candidate will have not less than two years’ experience in ticketing and/or development. 
Responsibilities include:
·         Process gifts including entering gifts into the database, preparing and mailing acknowledgement letters, and maintaining database and donor files.
·         Day-to-day box office duties such as assisting subscribers and single ticket buyers with exchanges, directions, purchases, donations, and questions. The incumbent also leads the annual subscription campaign and handles complimentary ticket requests and group sales.
·         Perform follow-up activities focusing on growing the donor base.
·         Plan face-to-face meetings and events with donors.
·         Support the Exec. Dir. and Board of Dir. in the coordination of major donor event solicitations.
·         Manage direct mail, administer monthly giving program, assist with online appeals and stewardship mailings, and coordinate with staff.
·         Coordinate online donation opportunities including website management. 
·         Provide support for ticket buyers and donors at all performances and fundraising events.
Qualification Requirements:
·         BA degree required.
·         A minimum of two years relevant experience.
·         The ideal candidate will have excellent writing skills, with careful attention to detail.
·         Must be deadline-, detail-, and budget-oriented.
·         Experience with TheaterManger and/or PatronManager software or similar ticketing / fundraising database management preferred.
·         The ability to work well in a team environment, and to work on multiple projects simultaneously.
·         A friendly phone manner and excellent computer and customer service skills are required.
·         A background in classical music or performing arts organizations is helpful, but not required.
Hours: Three weekdays in the office per week, with attendance expected at occasional evening events and weekend performances. Salary is commensurate with experience. 
How to apply:
Send a one-page summary of your professional experience laid out in three columns:  Left-hand column- job title.  Middle column- name of organization with one-line description if necessary, followed by the applicant’s key accomplishments while in the job.  Right-hand column- period of employment.
Applicants may also send cover letter, writing sample, and resume via email to jobs (at) bachconsort.org with “Patron Services Manager” as subject before February 2.  No phone calls, please.
Beyond these responsibilities, this position offers a great opportunity to work across all areas of a fun, well-respected performing arts group, and learn about what makes a small arts nonprofit successful. The Bach Consort – now in its 37th season – is an Equal Opportunity Employer.

EMULSION 2015

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 DEADLINE: February 15, 2015 at 11:59:59 p.m. EST

Read the Full Prospectus HERE

Apply via Submittable HERE

The Second Annual East City Art Regional Juried Show

emulsion-exhibition-stillsPRIZES
$1,250 First Place Prize
$750 Second Place Prize
$500 Third Place Prize
Two People’s Choice Awards

ENTRY FEE
An entry fee of $38.50 paid to East City Art Media LLC

QUALIFICATIONS
This call for entry is open to all residents 18 years of age or over who reside or create art within 50 miles of East City Art’s headquarters located at 922 G Street SE, Washington, DC.  Click on Map below for a block-by-block view

LOCATION
Gallery O on H located at 1354 H Street NE in the heart of the Atlas Entertainment District

EXHIBITION DATES
Opening Reception Sat. March 21 | Closing Reception: Sat. March 28
Exhibition on view March 21-28, 2015 with weeklong programing

JUROR
Gallery Owner Adah Rose Bitterbaum. Read her interview HERE.