Great Moments in Art: Whimsical Works by Stephen Hansen

Zenith Gallery’s newest exhibit, “Great Moments in Art: Works by Stephen Hansen,” is on display December 4-January 30, at our Iris Street location. This collection of whimsical parodies was created by one of our most endearing, enduring artists – Stephen Hansen. Hansen has been represented by Zenith for almost our entire 37-year history, and has developed a host of devoted followers, both within the area and around the world. In fact, Hansen’s work has been shown worldwide over the past 40 years. His work has featured in the collections of Embassies around the world, as well as many museums, commercial buildings, airports, and government buildings, including the Federal Energy Regulatory Commission, right here in Washington, DC.

 

Hansen’s newest body of work is a nod to both the formal practice and study of Art Appreciation, and his viewer’s knowledge of both individual great works of art and the seminal Art Movements that define Western Art History: cave paintings, Cubism, Abstract Expressionism, The Italian Renaissance, The Northern Renaissance, Realism, Surrealism, Post Impressionism, Pointillism, Pop Art and so forth.

 

Art Appreciation is the knowledge and understanding of the universal and timeless qualities that identify all great art. The more you appreciate and understand the art of different eras, movements, styles and techniques, the better you can develop, evaluate and improve your own artwork.

 

Art Movements are the collective titles that are given to artworks, which share the same artistic ideas, style, technical approach or time frame. They provide Art Historians, Art Educators, Art Critics, and Art Theorists a means of grouping together artists of a common period, style or technique, so that they may be more easily understood and discussed. Art Critics or Historians usually name Art Movements retrospectively, and their titles are often witty references to the artist’s own comments about their work, or sarcastic nicknames pulled from a bad review.

 

These pieces are clearly “Hansens,” but they also delve into new territory for the artist, in that he has revealed his remarkable ability to replication a wide array of painterly techniques and styles. Each of these new works features his trademark painted papier-mâché figures, but this time they are taking center stage in all their three dimensional glory, mounted on paintings done in acrylic on canvas, mounted on wood panels.

 

What are these little guys doing? They are painters, wearing white caps and white painters’ scrubs, painting these great works of art. In so doing, they are making a rather clever statement about what it means to ‘paint’ a painting. In the artist’s own words: “This project started with a ‘Rothko,’ and the notion that one’s life work might have been accomplished one brilliant weekend with a roller. What if artwork really was, well? … Work, and paintings were done by painters? It had never occurred to me, until I became involved in this project, to pretend to be someone else for a few days. It is a bit like a holiday, though I would recommend Gauguin over van Gogh.” 

 

In essence, Hansen’s achievement has been to create a group of artwork that playfully parodies a Brief History of Art in the Western World. Incidentally, the Supreme Court has ruled that a parody is not a copy – and thus, Hansen is not committing copyright infringement. Just in case you were wondering.) What we at Zenith enjoy is that he does so, while poking fun at himself – at maybe at each famous artist (just a little bit) not to mention anyone else who loves the original works he has replicated. His respect and admiration for each great work of art clearly comes through in his careful scrutinizing of each piece. Hansen is dissecting each work of art, distilling it down to its most notable and charming elements. In so doing, his pieces manage to tease, entertain, educate, and amaze. No small achievement!

The Following Examples of Hansen’s Great Works of Art and

Their Respective Art Movements are in (roughly) Chronological Order:

 

The Cave Paintings of Lascaux, France

Cave Painting 1

 

Cave Painting Two

Hansen’s Homage to the Prehistoric Artists

The Italian/Southern Renaissance

Sandro Botticelli’s “Birth of Venus”

Sandro Botticelli’s “Birth of Venus”

 

Hansen’s Homage to Botticelli

Hansen’s Homage to Botticelli

 

The Northern Renaissance

Johannes Vermeer’s “The Girl with The Pearl Earring”

Johannes Vermeer’s “The Girl with The Pearl Earring”

Hansen’s Homage to Vermeer

Hansen’s Homage to Vermeer

 

Unknown (After Rembrandt) "The Anatomy Lesson of Dr. Tulp"

Unknown (After Rembrandt) “The Anatomy Lesson of Dr. Tulp”

Hansen’s Homage to the artist

Hansen’s Homage to the artist

 

Post-Impressionism

Vincent van Gogh’s “Starry Night”

Vincent van Gogh’s “Starry Night”

Hansen’s Homage to van Gogh

Hansen’s Homage to van Gogh

 

Pointillism

Georges Seurat’s ”Un dimanche Après-midi à l’Ile de la Grande Jatte” (A Sunday Afternoon on the Island of La Grande Jatte)

Georges Seurat’s ”Un dimanche Après-midi à l’Ile de la Grande Jatte”
(A Sunday Afternoon on the Island of La Grande Jatte)

Hansen’s Homage to Seurat

Hansen’s Homage to Seurat

 

Cubism

Pablo Picasso’s “Woman with Hat (Olga)”

Pablo Picasso’s “Woman with Hat (Olga)”

Hansen’s Homage to Picasso

Hansen’s Homage to Picasso

 

Surrealism

Salvador Dali’s “Persistence of Memory”

Salvador Dali’s “Persistence of Memory”

Hansen’s Homage to Dali (Notice the melting paintbrush?)

Hansen’s Homage to Dali (Notice the melting paintbrush?)

 

Neo-Plasticism

Pieter Cornelis “Piet” Mondrian’s “Composition II in Red, Blue, and Yellow”

Pieter Cornelis “Piet” Mondrian’s
“Composition II in Red, Blue, and Yellow”

Hansen’s Homage to Mondrian

Hansen’s Homage to Mondrian

 

Abstract Expressionism

Jackson Pollack’s Untitled (Also known as “Drip and Splash”)

Jackson Pollack’s Untitled
(Also known as “Drip and Splash”)

Hansen’s Homage to Pollack

Hansen’s Homage to Pollack

 

Pop Art

Roy Lichtenstein’s “Thinking of Him”

Roy Lichtenstein’s “Thinking of Him”

Hansen’s Homage to Lichtenstein (Notice how the painter in Hansen’s homage is thinking of her, while she is Thinking Of Him”?)

Hansen’s Homage to Lichtenstein
(Notice how the painter in Hansen’s homage is thinking of her, while she is Thinking Of Him”?)

Stars & Stripes: Zenith Salutes the Flag!

Vex…a what? The study of flags is known as vexillology, from the Latin word vexillum, meaning flag or banner. A flag is a piece of fabric (most often rectangular or quadrilateral) with a distinctive design that is used as a symbol, as a signaling device, or as decoration. The first flags were used to assist military co-ordination on battlefields, and flags have since evolved into a general tool for rudimentary signaling and identification, especially in environments where communication is similarly challenging (such as the maritime environment where semaphore is used.) National flags are potent patriotic symbols with varied wide-ranging interpretations, often including strong military associations due to their original and ongoing military uses. Flags are also used in messaging, advertising, or for other decorative purposes.

 

Let’s discuss the development of the design of some flags we’ve been seeing a lot of recently. In fact, let’s get deep into three of the strongest statements flags are making these days. Let’s talk about the Rainbow Pride Flag, the Black Standard Flag being flown by Jihadists, and the Confederate Flag. Then, let’s look at how three Zenith Gallery artists are turning messages of terror, homophobia, racism, and despair UPSIDE down – as they incorporate flags into works of art promoting racial harmony, embracing racial identity, affirming and supporting marriage equality, and finally, making a profound statement about the preciousness of survival in the face of adversary and the enduring nature of American democracy.

 

From Wikipedia: “The LGBT community has adopted certain symbols for self-identification which demonstrate unity, pride, shared values, and allegiance to one another. LGBTQ symbols communicate ideas, concepts, and identity both within their communities and to mainstream culture. The two most-recognized international LGBTQ symbols are the pink triangle and the rainbow flag. The pink triangle, employed by the Nazis in World War II as a badge of shame, was re-appropriated but retained negative connotations. The rainbow flag was created to be a more organic and natural replacement without any negativity attached to it.”

 

Stars & StripesThis summer, Zenith Gallery chooses to celebrate the spirit of the American ideals of democracy, self-expression, justice, truth, social freedom, personal freedom, and true equality. That is to say, our most recent exhibit celebrates and explores the American people and American society that we aspire towards, if not always perfectly achieving. We’re doing this by presenting a two-site exhibit “Stars and Stripes: Zenith Salutes the Flag!” This two-site show features over 20 different artist’s depictions and interpretations of the American flag, in over 60 works of art. This intriguing exhibit was conceived in tandem with the release of the book “Stars and Stripes: The American Flag in Contemporary Art” by E. Ashley Rooney and Stephanie Standish, published by Schiffer Publishing Company. Both our two-site show and this book focus on celebrating how artists have incorporated the colors and symbols in the American flag within their own art, to convey various themes and to play off other motifs and designs.

 

Rainbow Pride Flag

A street sign in Philadelphia, incorporating the modern version of the rainbow pride flag.

Flags and Marriage Equality

The recent Supreme Court ruling on the legality of gay weddings is being celebrated across the country, and Zenith could not be more thrilled. To represent the pride and excitement they feel, Americans are ‘waving’ the Rainbow Pride flag. This   iconic symbol of gay pride is showing up all over social media, on the evening news, on coffee mugs, and even in attire. You may recall that the original emblem adapted by the Gay Pride movement to represent LGBT culture was the pink triangle? You may also recall that the Nazi party used a pink triangle to label ‘sexual deviants,’ just as the Jews were labeled with a gold star.   The evolution from pink triangle to rainbow is interesting, and when you think about it, also makes perfect sense. From Wikipedia: “The LGBT community has adopted certain symbols for self-identification which demonstrate unity, pride, shared values, and allegiance to one another. LGBTQ symbols communicate ideas, concepts, and identity both within their communities and to mainstream culture. The two most-recognized international LGBTQ symbols are the pink triangle and the rainbow flag. The pink triangle, employed by the Nazis in World War II as a badge of shame, was re-appropriated but retained negative connotations. The rainbow flag was created to be a more organic and natural replacement without any negativity attached to it.” Gilbert Baker designed the original, eight-stripe version of the rainbow pride flag in 1978. In late 1978, a seven-stripe version was developed due to a shortage of hot pink fabric at the factories producing the new flag. In 1979, a six-color version was developed, so that the flag would have an even number of stripes and therefore look better when hung vertically on lampposts. In this version, indigo is interchangeable with royal blue. This is the version that has been popular ever since.

 

FlagZenith Artist Jennifer Wagner created the mosaic piece “Pride (See Yourself, Be Yourself)” in celebration of the recent Supreme Court decision to legalize LGBT marriage nationwide. Her work was made with a team of youths, some of who identify as transgender, some of whom identify as gay or lesbian. The spirit of working in collaboration to celebrate this profoundly impactful legal decision energized Wagner. To paraphrase Wagner’s explanation of the creation of this piece: ‘how could we not do it? When my team and I heard about the Supreme Court decision, with tears in our eyes, we conceived of a piece that spoke to the struggles and the challenges that led up to the moment when the justices said YES.’ The wording on the piece are as important as her incorporation of the rainbow flag motif:

 

“This flag is for those who had to hide,
For those who cried,
And for those who died.
See yourself, Be yourself.”

 

Flags and Terrorism

TerrorismThe “Black Standard” Islamic State flag being flown by the terrorist organization ISIS also comes to mind as a flag that is ‘front and center’ in recent days. The Islamic State flag (aka “Black Standard” or “Black Banner” has existed long before ISIS was established.

 

In fact, there have been multiple versions of this flag throughout history. Its earliest incarnation can be traced to the advent of Islam in 7th century C.E., where Muhammad allegedly spread his teachings under the Black Standard. He adopted this banner custom from the ancient Romans, who conquered the world under the Aquila, or eagle, banner. Mohammed may have even adopted the eagle name, as early accounts of his conquest cite that he referred to his banner as “the banner of the eagle” also. As various sects of Islam developed throughout the coming centuries, the Black Standard began to stand for various eschatological ideologies. Today it is mostly identified with extremist Sunnism and Jihadism. Islamic tradition states that the Quraysh had a black liwā’ and a white-and-black rāya, and thus the origin of the colors and the symbolic meaning behind them. They represent the Quraysh, a holy text that in turn represents the words of Allah. The Pashtun tradition of using a version of The Black Standard with a white shahada (Islamic creed) inscription as a military ensign, dates back to the 18th-century. It is this version of The Black Standard that was adopted by the Taliban, and thus by Al-Qaeda, in the 1990s. This usage was adopted by the global Jihadism movement in the early 2000s, and in the 2010s by the Islamic State of Iraq and the Levant (ISIS).

 

In direct opposition to the message embraced by those who wave the Jihadism movement flag, Zenith Gallery artist Dalya Luttwak transformed the colors and shapes found within the design of the American flag into a profound, graceful, and powerful memorial for those who were lost on 9/11.

 

TowersIn her painted steel piece “Tribute to New York City,” Dalya evokes the skyscrapers and the rubble of the World Trade Center attack. Luttwak’s version of the attack…really, it’s a bit like seeing a very simplified model of the aftermath – is far more complex and intriguing than merely a few pieces of painted steel. Let’s look a little more closely at her work. First, color. She’s included the classic American flag palette of red, white and blue. Blue at the base is evocative of both the harbor and the sky (from out of which the planes flew), but it also could represent the holes in the ground and the blackened rubble. White horizontal and vertical planes can be seen to represent both the negative ‘empty’ space where the towers used to be, and also very simplified skyscrapers themselves. They are both ‘there’ and ‘not there.’ Being both ‘there’ and ‘not there’ is what a memorial speaks to, on the human level as well. Finally, red – red is so powerful. In our culture, red represents blood, pain, anger, and savage fury. In our culture, red also represents a different kind of passion – love. Luttwak has achieved a piece that upon closer examination incorporates the strong extreme sense of both loss and presence, passionate pain and passionate love. Perhaps she is suggesting we respond to the fury and the anger of the terrorists with love. Perhaps she is saying love will conquer all? After all, the red is ‘on top’ of the rubble. Whatever your final assessment, you can’t deny the piece is both elegant and eloquent. And, it’s extremely patriotic, but it does not ever feel jingoistic. Quite an achievement – and we are thrilled to showcase this work.

 

Flags and Racism

Lastly, but certainly not least, there is the infamous Confederate flag. This divisive image has been experiencing a surge in appearances due to recent events that can be added to the long, tangled, sad, and maddening history of slavery and the oppression in these United States. The history of the design of the Confederate flag is interesting. William Porcher Miles, the chairman of the Flag and Seal committee of the Confederate States of America (CSA) government, designed this flag. The now-popular variant of the Confederate flag was rejected as the national flag of the Confederate government in 1861. Instead, the Army of Northern Virginia, under General Robert E. Lee, adopted it as a battle flag. In fact, there were four successive national flag designs that served as the official national flags of the Confederate States of America (the “Confederate States” or the “Confederacy”) during its existence from 1861 to 1865. None of these are what is currently known as the “Confederate flag.”

 

Despite never having historically represented the CSA as a country, it is commonly referred to as “the Confederate Flag” and has become a widely recognized symbol of the American south and American southern culture. It is also known as the rebel flag or the Dixie flag. The “rebel flag” has therefore become synonymous with plantation culture, the white supremacy movement, conservative neo-separatist political beliefs that romanticize the Civil War era, as a symbol – the culture of slavery within the United States, and the systemic, widespread racist treatment of African Americans throughout our history, including present-day racism. Supporters of the flag claim they are celebrating Southern pride and Southern heritage. Several Southern states have incorporated the rebel flag in their state flag design. A 2011 Pew Research Center poll revealed that 30% of Americans have a “negative reaction” when “they see the Confederate flag displayed.”  According to the same poll, 9% of Americans have a positive reaction.

 

Here is a photo of an original “Stars and Bars” Flag of the Confederate States of America, captured by Union Army soldiers in Columbia, South Carolina in 1861. This is the first of four official national flag designs adapted by the Confederate States of America.

Here is a photo of an original “Stars and Bars” Flag of the Confederate States of America, captured by Union Army soldiers in Columbia, South Carolina in 1861. This is the first of four official national flag designs adapted by the Confederate States of America.

As a result of these varying perceptions, there have been a number of political controversies surrounding the use of the Confederate battle flag at sporting events, at Southern universities, and on public buildings. Southern historian Gordon Rhea further wrote in 2011 that: “It is no accident that Confederate symbols have been the mainstay of white supremacist organizations, from the Ku Klux Klan to the skinheads. The KKK did not appropriate the Confederate battle flag simply because it was pretty. They picked it because it was the flag of a nation dedicated to their ideals: “that the negro is not equal to the white man.” Ideals, incidentally, quoted straight from The Cornerstone Speech, also known as the Cornerstone Address, was an oration delivered by Confederate Vice President Alexander Stephens at the Athenaeum in SavannahGeorgia, on March 21, 1861. The Confederate flag, we are told, represents heritage, not hate.

 

Here is a photo of the current state flag for the state of Mississippi, which incorporates the rebel flag in the upper left corner.

Here is a photo of the current state flag for the state of Mississippi, which incorporates the rebel flag in the upper left corner.

Why should we celebrate a heritage grounded in hate, a heritage whose self-avowed reason for existence was the exploitation and debasement of a sizeable segment of its population? In fact, we at Zenith Art Gallery REFUSE to participate in this disgusting sham, and we don’t believe it is about ‘heritage…’ unless by ‘heritage’ you mean the systemic abuse of thousands of humans within the horrific lifestyle that is, and was, slavery. We say “is” because we acknowledge that slavery still exists, both abroad and, to a limited extent, here–because, although it is no longer government sanctioned, there are still cases reported each year of individuals found enslaved within the United States.

 

The American FlagMessages and symbolic meanings conveyed in flags are often determined by cultural context. One of our artists, Curtis Woody, speaks to his own life experience, as an African American, and through his own lens, manages to express the universal voice of the African America – throughout our history – in the work “Freedom Isn’t Free.” Curtis uses a format he refers to as “quilt” paintings (collage) to incorporate images and text, along side bold graphics and subtle textures, creating a piece that is one part historic record, and one part artistic expression. The delicate lace he has printed over the black profile on the bottom segment reminds us of a person sitting in a parlor behind lace curtains. On the other hand, it also evokes for us the thousands of Africans, and African Americans forced to live lives in a state of illiteracy, anonymity, and oppression. After all, the person in profile lacks any defining features – they are anonymous. Whether this is by choice is indeterminate. Are they a rich white civilian who wishes to remain behind the lace curtains, outside reproach, blissfully ‘ignorant’ of what privilege they enjoy, and at what price? We don’t know.

 

 

 

 

Why People Make Art and Perform Artistic Acts

Ladies and Gentlemen, let’s talk about why people make art and perform artistic acts. One of the reasons people make art is to express their thoughts and feelings about what is going on in their world today. And, these days, with our 24/7 news feed, with social media running on hyper-drive, with phones that are almost secondarily considered phones and often primarily considered cameras, social secretaries, soap boxes, and day planners…well, let’s just simplify it – there is no shortage of inspiration for artists.

 

Let’s take a moment to consider some of the more upsetting, frightening stories of the times: the Charlie Hebdo attack on cartoonists and the subsequent attack on innocent Parisians in a Jewish grocery store, the abduction and torture of innocent young girls in Nigeria, death and destruction throughout the Middle East courtesy of ISIS, the recent Russian and Ukrainian territorial conflict in the Crimean peninsula, young Black men shot seemingly simply because they are – young, male, and Black, living in the United States, and in the wrong place at the wrong time. Guns, bombs, terrorism, and fear mongering abound.

 

Artists see and hear these stories, and they respond. They mirror what is going on, they reflect it back for their comrades to “see.” Their work is a reflection, in this way, of their times. Often, the most powerful work carries on, and becomes available for future generations to discover. Artwork offers future generations insight into how our society felt about the world we were living in, and people, places, and things in that world. That’s the power of art – it endears beyond the moment, preserving the feelings, ideas, and mood of that moment – a time capsule comprised of poetry, paintings, photographs, buildings, fashion, sculptures, dance, theatre, music, and so forth.

 

 

PicassoWarHere are two powerful examples of these phenomena. First, a painting by Pablo Picasso (above) and a photograph of the very event his painting depicts (right):

 

Of course, many of you already are familiar with this painting. It’s Guernica. It’s one of the most important works of art ever created, certainly one of the most powerful depictions of the atrocity of war ever conceived. Guernica is a portrayal of the aerial destruction of a Basque town by fascists during the Spanish Civil War. It’s also a groundbreaking work in that it does not limit its depiction of the war to a photo-realistic depiction, but rather includes the psychological and metaphysical aftermath. Around the world, images copied from and inspired by it have appeared on placards, fliers, and t-shirts. After the U.S. bloodbath in Fallujah in 2004, Pepe Escobar of the Asia Times wrote that “Fallujah is the new Guernica,” and journalists Jonathan Steele and Dahr Jamail referred to the siege as “Our Guernica.” In a 1945 interview, Picasso expressed the below sentiment. Later, Boeck and Sabartes include this quote in their biography “Picasso,” which was published by Harry N. Abrams in 1955.

 

What do you think an artist is? An imbecile who has nothing but eyes if he is a painter, or ears if he is a musician, or a lyre at every level of his heart if he is a poet, or nothing but muscles if he is a boxer? Quite the contrary, he is at the same time a political being, constantly aware of what goes on in the world, whether it be harrowing, bitter, or sweet, and he cannot help being shaped by it. How would it be possible not to take an interest in other people, and to withdraw into an ivory tower from participation in their existence? No, painting is not interior decoration. It is an instrument of war for attack and defense against the enemy.

 

Now, let’s take a look at “The Ascent of Man” by one of our artists, Reuben Neugass. This piece features ink on wooden panels. The overall dimensions are 12” x 40.” The connection the artist makes between instruments of war and profits is blunt, powerful, and profound.

indexPerhaps most telling is the last panel, which depicts an absence of anything – an utter void – nothingness. Let’s hope we learn from our mistakes before we reach this phase in our ‘ascent.’

 

Joy and SorrowHere’s another piece, by another one of our artists, to consider. The artist is Carol Newmyer. The piece is titled “Joy and Sorrow.” It’s a cast bronze piece, depicting the universal struggle for humanity to rise above our baser natures and achieve a transcendent state of peace and nirvana. One figure is reaching out enthusiastically and joyfully, ready to leap into action and embracing the possibilities. Their back is arched, their arms are spread wide, they are lifting their head up, kicking their leg out – it’s as open as a human can physically be, a jubilant stance. Meanwhile, the other figure in this piece is sorrowfully closed off. It is as if the artist is saying that being open brings joy, while being closed brings only sorrow. This is worth contemplating, when we consider how we could prevent any future terrorist attacks – in Paris, in New York City, at the finish line of the Boston Marathon, in Jerusalem, or elsewhere. Let’s take Carol’s advice and be open to what our world has to offer, and present ourselves as joyfully aware, rather than closed off and turned inwards.

 

Welcome

Hello and welcome to our new blog!  We are so glad you have joined us! If you have any questions or concerns, please do not hesitate to contact  Ms. Ella Dorsey, who is going to be spearheading this new endeavor.  She can be reached at: ella@zenithgallery.com.  In this blog, we hope you’ll find a range of resources and ideas to inspire you, provoke you, and possibly even transform you! Please consider sending the link for our blog to all your family, friends, business associates, and neighbors.

We welcome free-flowing discourse between…

the young and the young-at-heart,

the creator and the patron,

the artist who is just embarking on their career

and the seasoned professional,

and finally, the informed and the curious!

 

It is our intention to offer the following categories of content:

Meet Our Artist  

Each month, this page will feature a new artist, and will include a quick biography or resume, an artist’s statement, and examples of their art.  There will be a comments section, which will give our readers an opportunity for to connect with the artist, asking questions to learn more about what you find compelling. In this area, we offer our readers the chance to learn more about the artist’s process, their background, their themes, their medium, and their inspirations.

Something to Consider – Editorial  

Each month, this page will feature an editorial, relating the artistic process and art history to current events. The editorial will provide you with a bridge between the world of art and the world as a whole – topics might include: economics and finance, war and terrorism, social and cultural expectations for women, poverty and charity, politics and propaganda, environmentalism and recycling, or others.  We’ll include a comments section here, and may even be inspired by reader comments to respond in the next essay to what you think!

Resources & Tips for Artists  

Each month, Zenith Gallery will provide different resources, in the hopes of building an extensive menu for our artists. These will be archived, for easy reference from month to month.

Examples of resources might be –

  • “How To Frame Your Work for An Art Gallery”
  • “How to Price Your Work for an Art Gallery”
  • “How to Write an Artist’s Statement for a Potential Client and an Art Gallery”
  • “Sources for Free or Inexpensive Art Supplies”
  • “How to Label and Describe Your Work”

Opportunities for Artists  

Zenith Gallery will provide different opportunities for our artists, as part of our commitment to building and sustaining a supportive community of artists.  These will be archived, for easy reference from month to month.

Examples of opportunities might be –

  • “Upcoming Grants and Artist-in-Residence Programs”
  • “Upcoming Juried Show & Exhibit Opportunities”

Happy Birthday

  •  365 different artists: 365 days of art
  • See who shares your birthday!
  • Learn about a new artist each day!

Art in the News

  • Links to Current Art-Focused News and Events such as:
  • Museum Openings
  • Auctions
  • Stories about Thefts or Forgeries
  • Movies about Art
  • Famous Artists Who Have Passed Away etc.

 

Just for Fun

Whimsical, Cute, Fun, Silly Stuff – Jokes About Art, etc.