UK Artist Residency – Sunderland’s Philippa Whiteside @ Flux Studio

Philippa Whiteside “Hope & Despair”

This past spring, DC was host to Artomatic’s International Glass and Clay show. This groundbreaking exhibit featured works by artists from the Sister Cities of Washington, DC and Sunderland, England. One of the UK ceramics artists  - Philippa Whiteside - sought out an artist residency at Flux Studios, and she will be arriving in the USA soon!

Philippa Whiteside’s work at the International Glass & Clay 2013 show.

Philippa graduated from Sunderland University in 2010 with a BA Hons in Glass and Ceramics. She was awarded a 12 month scholarship with Creative Cohesion, supported by Sunderland City Council, and later was elected a Director of Creative Cohesion. Philippa’s studio is based at Creative Cohesion. Her work often references text and letters, and she also experiments with surface decoration and texture, playing with porcelain’s capabilities and natural beauty.

Philippa Whiteside “‘UnPick Me. Pull Me Apart”

In a related note – the International Glass & Clay show has travelled back to the UK, and will soon be on exhibit – more details to follow.

If you are in the Mount Rainier area – stop in Novie Trump’s Flux Studios during September and say “Hi” to Philippa – maybe shout her a drink (or two!)

It’s OK – she’s a Brit – she can handle it!

DC Artist Exchange Presents Panel Discussion on Studio Incubators

DCartistexchange (DCax) is a collaborative project developed by several DC-based arts and cultural organizations. DCax is a series of events and tools designed to explore new ways to build community. The kick-off series includes five panel discussions around the broad topic of artist space in the city, four in-person creative networking events called Swap Meets, and a website ( meant to engage members through a virtual community space. 

photos by Alan Kayanan

The DCax Panel Series focuses on the broad topic of artist space in the Washington, DC area.

This Saturday, August 17, there will be a Panel Discussion that  focuses on artist studio incubators. These spaces are created by and for artists as places to work and create. Presenters will discuss the development and operations of these spaces.

You are invited for the following:
10:30am-11:30am – Panel discussion
11:30am-12:30pm – Walking tour (lunch included) to review, discuss and experience Dance Place, Brookland Artists Lofts, and after, we will head over to the Monroe Street Market to see the 27 artists studios and their two event spaces. Then back to the space for more panel conversation and ending at 2pm.

Panelists include:

Mike Abrams, Union Arts
Travis Bowerman, CulturalDC, Flashpoint
Kristina Bilonick, Pleasant Plains Workshop
Michael Janis, Washington Glass School
Lisa Neher, Jackson School
Paul So
, Hamiltonian Artists

Click HERE to get all the details for the event.

All DCax Events will take place at The Menkiti Group offices located at:
3407 8th Street NE
Washington, DC 20017

All events are free and open to the public.

Upcoming Panel Discussions include:
Saturday   /   August 24 (Government Support)

      Saturday   /   September 7 (Private Property) 

DCartistexchange is collaborative project brought to you by Artomatic & partners ReSourceArts, Hamiltonian Artists, Dance Place (Art on 8th), Menkiti Group, CulturalDC, and Nurish. Funded in part by the DC Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts.

The Artomatic Workshops are supported in part by Art on 8th, a project of Dance Place supported by the National Endowment for the Arts “Our Town” Program in partnership with the DC commission on the Arts and Humanities. Art on 8th is a collaborative project between Dance Place, CulturalDC and Abdo Development/The Bozzuto Group/Monroe Street Market.

Veni, vidi, vici – Recap of Penland Auction Tour 2013

Penland 2013 Auction

Tim Tate and Sean Hennessey have returned from leading a jam packed tour of collectors and aesthetes through North Carolina’s Penland School of Crafts. The guys took the James Renwick Alliance (JRA) group to many of the the artist studios that surround Penland, some of the galleries of Asheville, and then to the beautiful setting in the Blue Ridge Mountains that surrounds Penland for the auction.
Accompanying the group was Jennifer Scanlan, independent curator and craft scholar.

Dustin Farnsworth sculpture.

Sculptor Mel Chin talks to the tour group about his work.
Mel Chin talking about one of his works, made up of hundreds of books depicting all the worlds philosophies…..all flowing together to create one world.
Detail of Mel Chin’s sculpture – with the pages all flowing together.
Lunch at historic Grove Park Inn. Listed on the National Register of Historic Places, the hotel is an important example of the Arts and Crafts style.
Lunch overlooking Asheville and the mountains.
Lisa Clague’s studio had fantastic sculptures that were like dreams come to life.
Lisa Clague’s drawings are equally beautiful and surreal.
Visiting jewelers Amy Tavern & Joanna Gollberg.
Artist Zack Noble’s forge.

Sean Hennessey and Zack Noble.

Back to Penland for the big event!
Tour hosts – Sean Hennessey and Tim Tate relax after the festivities.

Plans are being made for next year’s tour – with over 100 collectors going to an “All-Glass” artwork and studio tour – start making your plans now!

UK Artist Susan Ratliff Residency at Washington Glass School

UK Glass artist Susan Ratliff in Washington, DC

UK glass artist Susan Ratiliff has recently completed her Residency at the Washington Glass School, and we catch up with her for an interview about her experience.

Why an artist residency?

Studying Glass at Sunderland University while an amazing opportunity, is driven mainly by the acquisition of skills and knowledge. Work is created to titled assignments until the second semester, where self directed work begins. Even self directed work is overseen and influenced by tutors. By undertaking this residency, I feel it has allowed me to breathe and focus on what I wish to explore and gain confidence in myself as an emerging artist. That is not to say I wish to work in isolation and certainly within the community of artists that work out of the Glass School, artists do seek others perspectives on their work.

Why did you apply to Washington Glass School specially?

Almost eighteen months ago Michael Janis and Tim Tate, Directors at Washington Glass School were awarded a Fulbright Scholarship and came to Sunderland University where they ran a series of Masterclasses and Seminars.

Michael Janis (left) teaching Masterclass in glass at University of Sunderland, 2012.

I was fortunate to attend all the Masterclasses and the Seminars. I found the workshops very informative and interesting and was excited by the new techniques shared. More specifically I was very impressed by Michael and Tim – the quality of teaching, preparation and expectations were outstanding. I do not use these words lightly, having been a school’s inspector in my previous career. Their passion and dedication were infectious and I wished I could emulate these traits as an artist. We have had various international artists visit University but these two stood out for me as exceptional. I also felt there was a cultural difference in the attitudes to glass art in America as compared to England. I wanted to learn more, and at all the levels and nuances. All of these factors contributed to me wanting to apply to Washington Glass School. 

Did the residency live up to the expectations you had?

Prior to coming to the US, I was filled with a combination of equal parts nerves and excitement. I wasn’t sure what to expect and didn’t want to let them and myself down.I knew I was prepared to be positive, and to do the best I could and work hard.

Studio artist John Henderson.

The residency has certainly exceeded what I had ever envisaged. I have been given so many opportunities and such valuable mentoring that I am shocked that in such a short time, I feel more confident in myself as an artist.

I have seen at first hand the diversity of work that exists in a working artist studio, and also the hours that are needed and a glimpse of the challenges to be faced.

How did you find the living and studio conditions DC? Did you feel at home?

One of the biggest challenges for me had being finding somewhere to live that was both affordable and safe. Washington, DC is the capitol of the United States and is an enormous and diverse city. I emailed Michael earlier, asking the specific location of the Glass School as I wanted to look at commuting and not trying to get across the city. From this point I can only say “God bless Google”! I asked how safe certain metro stations were for single white females and got great answers online. I went for a Guest House in Columbia Heightsand it has been fantastic, I feel I am living in a neighborhood, yes there is an energy and a vibrancy but it feels great! It is down the street from interesting shops and restaurants and a DC metro station. I would return to it and recommend it to others too.

Susan Ratliff talking with Sean Hennessey; getting studio supplies at Home Depot, enjoying the sweeping compound, and making kilncast glass artwork.

On my first day Michael was here to welcome me and began by giving me a tour of the studio. Within the first few minutes he had identified a working space that was designated for me alongside Audrey Wilson, Artist and the Glass School Studio Coordinator and also amongst the other studio artists. This really made me feel very welcome and I hadn’t expected it. Having worked at Sunderland it was lovely to see familiar equipment and the sweetie-like jars of Bullseye frit. One thing new to me was sweeping compound and I am the first to admit I think I got a little too excited by this! Audrey made me feel very welcome,she is very approachable and patient. When practicing skills as simple as glass cutting, she was so encouraging – she enables you to believe you can do it.

Susan Ratliff and Tim Tate discuss glass art.

Tim Tate – who had a very exacting schedule, was preparing to be out of state on an art tour with the Smithsonian’s James Renwick Alliance group, was very generous in giving his time when he was here. And Michael made a point of introducing me to all the artists in the School and encouraged me to inquire and discover more about their work.

I found the School very well equipped and well resourced. It has seven kilns of various sizes, cold shop and mold making areas, as well as some metal work facilities too. I think it is extremely well resourced.

What was your day like?

My days were varied but generally we began the day at 9:30 and worked through till after 5:00.

Audrey Wilson and Susan Ratliff make the 2013 International DC Short Film Festival Awards.

Some of the studio tasks included assisting Audrey in making the glass awards for the DC International Short Film Festival. Cutting glass, cleaning out kilns and talking to artists about their work. Making my own work. Going to Galleries, Museum exhibitions and lectures. Learning to blog and be a photographic model….I felt these last two weren’t my strengths.

Susan was able to take advantage of the different museums, and loved the National Gallery of Art.

On a studio-based day, I would generally start by asking Audrey if she had any tasks. If not, I would update my blog and then talk to one of the resident artists, including artists from some of the adjacent ceramic studios, about their work.

Susan works at the dry plaster casting technique to create some glass studies.

Audrey mixing plaster.

Following on from this and after a quick bite of lunch, I would work on a piece of my work to go into the kiln. While here I have been working on the Dry Plaster Technique for kilnforming glass, following on from the Fulbright Masterclass in Sunderland. On days when my work was out of the kiln in the morning, I would take it out and prepare the kiln in case anyone else needed it.

How did you make use of the facilities?

Our final year is a self directed module and so I to the opportunity to make a start on exploring an artwork idea that I had. I was assigned a kiln to use for work and carried out several test pieces exploring size, color and shape,all of my work was using dry plaster casting.

Susan’s workspace is covered with glass components made during her residency.

It was excellent to have the time to experiment, it felt quite liberating! I used 1/4 inch window glass and various colored frit and colored plate glass. I made the dams, sifted the plaster, cut the glass and used various found objects -some were more successful than others, but that is the nature of testing and the beauty of glass.

Susan notes that the USA has still not switched to metric, and must measure in imperial.

Do you get feedback on your work during studio visits?

I got excellent feedback throughout the process. Whilst setting up the kiln Michael would come over and ask questions such as Why are you doing……? What do you expect to happen if ……? The whole process made me think much more. When the work came out we would talk about the technical aspects what had worked well what not so well and happy accidents! I also felt I really benefited from discussions about my concept for my work. It is the first time I have felt mentored and found it invaluable and something I hope could continue.

Would you like to stay in DC after you’ve finished?

The ice cream truck arrives in time.

The first reaction is yes! I feel I have gained so much more from the whole experience. On a management course once a speaker described that often we live our lives holding a beach ball in front of us, and only seeing the world from that angle, and we should appreciate other people have a totally different view to us. I think coming here has given me a very different view. The way I have seen artists approach the work here in America is different to what I am used to, and sometimes feel that history and tradition really influences how people think – and I wanted to challenge myself by developing other methods and processes. 

Luckily, I had got a grant from the University that helped offset some of the costs in doing the residency. I am very lucky to have American friends that live in the neighboring state of Virginia, so knew they would support me and they did. Collecting me from the airport and having me on the weekends as well as providing me with food parcels – as though there were no food stores in the city of Washington! My friends and I were able to pop up to New York for a weekend escapade and took in a Broadway show before coming straight back to work at the studio.

Bright lights, Broadway, Big City  – Susan felt like she was in an alternate world.

I have loved it and would love to return……the question is, Would they have me back?!

EMULSION – East City Art’s First Annual Regional Juried Show – Call for Entry

Phil Hutinet – Editor-in-Chief at East City Arts announced their first annual regional juried show called “Emulsion”.

The First Annual East City Art Regional Juried Show

$1,250 First Place Prize
$750 Second Place Prize
$500 Third Place Prize

Entry Fee
An entry fee of $35 made out to East City Art Media LLC is required
The entry fee must accompany the application for it to be considered complete.

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

Exhibition Dates
Opening Reception Saturday November 9, 2013
Exhibition on view from November 9, 2013 through January 14, 2014

Lauren Gentile

For all inquiries please direct emails to

This call for entry is open to all residents of the Washington-Baltimore combined statistical metropolitan area as defined by the US Census. This is an opportunity for artists from the central Mid-Atlantic to showcase the extraordinary diversity in regional contemporary art.

An emulsion combines two seemingly incompatible ingredients to produce a third yet entirely new substance.  In this spirit, East City Art’s EMULSION seeks to combine the culturally different yet geographically close regions of Washington and Baltimore and to combine a wide array of art forms and mediums from two-dimensional work to performance based pieces.
East City Art envisions EMULSION as an annual event that will exhibit the brightest talent from the Mid-Atlantic region.  We expect EMULSION to grow over time to include more entries, an increase in prize money and visibility beyond the Mid-Atlantic to the national and international level.

About Juror Lauren Gentile
Lauren Gentile, founder of Contemporary Wing, has produced major exhibitions of historically significant artists including the 30 Americans artists, Shepard Fairey, the Guerrilla Girls, and JR, among others. While supporting the artists of today, she has helped nurture such emerging talent as GAIA, Hedieh Javanshir Ilchi, and Cheryl Pope. She holds an M.A. in art business from Sotheby’s Institute London and B.A. degrees in art theory and criticism, art history and international studies from the School of the Art Institute in Chicago, DePaul University, the University of Florence and the Goethe Institute.  Her private sector career includes work with art hedge funds and as director of sales in auction houses and galleries specializing in a variety of markets.

Phil said that he envisions EMULSION growing every year, with the opportunity to show the finalists in two or more locations. Get going!

Important Dates

  • September 9, 2013 – Deadline for entries (must be postmarked by that date)
  • September 27, 2013 – Notification of accepted artists completed
  • October 5, 2013 – Last day to respond to notification
  • October 7, 3013 – Acceptance list published on East City Art
  • October 26-27, 2013– Artwork delivered to gallery
  • November 2-3, 2013 – Work Installed by East City Art and Gallery O on H staff
  • November 9, 2013 – Show opens to the public
  • January 17, 2014 – Exhibition closes
  • January 18-19, 2014 – De-installation/Artist Pick-up artwork

    To jump to the prospectus pdf and more info on the opportunity:

Roll-up your glass! How warm and hot glass can live in harmony.

Some pix of the great work made by the roll-up class – where the students made a fused glass panel here at the Washington Glass School, and the following week, the class was held at DC Glass Works, where the fused panel gets…. well… rolled-up and blown into vessel shapes.

The rollup class gets a history of the process from Audrey Wilson

This process gets all the benefits of fused glass— creating differing inside and outside imagery, precise color placement, and full cross-sections of color. 

The flat fused panels get rolled up and blown.
Audrey and Dave working in the DC Glassworks hotshop.
This fused panel…
…became this sweet vessel.
Betsy Mead’s fused glass artwork transformed…
…into 3-D sculpture.
Tracy Benson’s fish panel flat…
…now ready to hold sharks and mermaids!
The blown work getting ready for the anneal cycle at the hot shop.

 A great class and a great time!

Newly Found Blue Planet Where It’s Raining Glass! Hallelujah!

Interstellar Glass Fun Facts 
Astronomers said they had found another blue planet a long, long way from Earth — no water world, but a scorching, hostile place where it rains glass, sideways.

Blue planet HD 189733b around its host star (artist’s impression)

Using the Hubble Space Telescope, scientists from NASA and its European counterpart, ESA, have for the first time determined the true color of an exoplanet, celestial bodies which orbit stars other than our own Sun. 
They concluded that HD 189733b, a gas giant 63 light-years from Earth in the constellation Vulpecula (the Fox), was a deep cobalt blue, “reminiscent of Earth’s color as seen from space.”
“But that’s where the similarities end,” said a statement. This planet orbits very close to its host star and its atmosphere is heated to over 1,800 degrees Fahrenheit.It rains glass, sideways, in howling 4,350 miles-per-hour winds,” said the statement. The planet is one of the nearest exoplanets to Earth that can be seen crossing the face of its star, and has been intensively studied by Hubble and other telescopes.

“Measuring its color is a real first — we can actually imagine what this planet would look like if we were able to look at it directly,” said Frederic Pont of the University of Exeter, who co-wrote the paper in Astrophysical Journal Letters. Pont and a team measured how much light was reflected off the planet’s surface, a property known as albedo, in order to calculate its color. 

HD 189733b was discovered in 2005. It is only 2.9 million miles from its parent star, so close that it is gravitationally locked. One side always faces the star and the other side is always dark.In 2007, NASA’s Spitzer Space Telescope measured the infrared light, or heat, from the planet, leading to one of the first temperature maps for an exoplanet. The map shows day side and night side temperatures on HD 189733b differ by about 500 degrees Fahrenheit. This should cause fierce winds to roar from the day side to the night side.

With apologies to the Weathergirls & writers of Its Raining Men: 

Barometer’s getting low

According to all sources,the street’s the place to go

Cause tonight for the first time

Its gonna be badass 

For the first time in history

It’s gonna start raining glass.

Its Raining Glass! Hallelujah! 

Other WGS : Glass Fun Facts

New Washington Glass School Fall 2013 Schedule

Washington Glass School Sept-Dec 2013 Class Schedule


Class 1500 -  Beginner’s Glass Lover’s Weekend


glass lovers

Our most popular class, this is the fastest way to learn all aspects of warm glass in the shortest amount of time! Under the supervision of a professional glass artist you will learn the fundamentals of fusing, slumping and dimensional kiln casting. Everything from bowls and plates to sculptural objects… this is the perfect way for a beginner to learn the basics of glass… and you will leave with several very cool items! Offered 3 times in the session.

Instructors       Audrey Wilson
Dates               Session A – Sat/Sun Aug. 10/11
                       Session B – Sat/Sun Sept. 21/22
                       Session C – Sat/Sun Nov. 2/3
Time               1pm to 5pm each day          
Tuition            $300 per student (all mtls included)  

Class 1501 – MIG Welding For Dummies!       


Ever wondered about learning to weld? Want to impress your friends, your older brother and that cute bartender? It’s easier than you think! In three evenings you will learn how to lay a bead, and handle all sorts of sharp and dangerous tools. You will be able to complete a small project and leave with lots of ideas and know-how for other projects. This class will teach you the basics of welding, metal work and design, joining, bending and finishing. And you will get dirty!  Offered 2 times this calendar.

Instructor :  Erwin Timmers
Dates :         Session A 

Wed. Eves in Sept. (11, 18, 25)

                    Session B Wed. Eves in Nov. (6, 13, 20) 

Time :          7:00 pm to 9:30 pm

Tuition :       $350 per student


Class 1502- Making Your Own Glass Board Game 


            Checker Board  

Chess, Checkers, Parchesi, Scrabble….Whatever you want! Make a chess board fit for a king! Not only are these great gifts, but are also fun to make! From beginners to the most experienced. All glass and materials included!

Instructors: Audrey Wilson

Dates :       Oct 12/13

Time:         1:30pm to 5pm

Tuition :     $400


Class 1503- Found and Lost – An Overview Of Lost Wax Casting 

melting pouring wax  

 Part One : Found (one day session)

A hands-on course that explores making  flexible, reusable molds for the production of repeatable parts. Students will be asked to bring in a minimum of 10 small “found” objects (objects must not have any dimension thicker than1″.) We will discuss all the objects in terms of approaches for making flexible molds, then identify the best choices to make. Lab fee for mold materials.

 lost wax

Part Two:  Lost ( 2 days)

In this “part 2″ course we will take the wax parts we make in our new flexible molds and turn them into “lost wax ” glass castings.  Mysteries will be revealed about how the wax is “lost” and how glass takes its place. A variety of plaster mold making methods will be explained. Hand built versus poured? Reinforcement methods?  Hi temp versus conventional plasters?  Each student will make one small 3 dimensional glass casting.

Instructor: Debra Ruzinsky

Dates :       Saturday  Nov. 9th from 1 to 5pm
and Sat./Sun.  Nov. 16 and 17 from 11 to 5pm

Tuition :     $400 + lab fees


Class 1504 – Lecture Series – What Came Before / A Slide History Of The Studio Glass Movement.  


Who was there, what they did, and why; in the US and abroad; male and female artists; people you may never have heard about!  For Glass Seccessionists who want to learn a little bit of history, that isn’t just about the biggest names in the field. This is a great chance to get the overview you might have missed, from the person who has been in enough places to give the best presentation on it!

Lecturer : Debra Ruzinsky 

When : October 5th  

Time: 1 to 3pm

Cost : Free of charge….just show up! RSVP’s appreciated.


Class 1505 – Making a Glass and Steel Table 



This is your chance to venture into furniture-making for your home. We will focus on using recycled materials to create a side table. You will get an introduction to welding and then cut and weld a steel frame. You will then cast or fuse an incredibly cool glass top to give you a one-of-a-kind table of your own design. No prior welding or glass experience is needed but not discouraged. There are size limitations for the glass top – not to exceed 18″ x 18″.

Instructor: Erwin Timmers

Dates : Wednesday eves, Oct 9, 16, 23 and 30

Time: 7pm to 9:30pm

Tuition: $400 per student (all materials included)


Class 1506 – Audrey’s Weekly Super Bowl Party


next step glass fuse bowls

You like bowls?  So do we!  So every Saturday come join Audrey Wilson at a super Bowl Making party! This is ongoing all summer (unless Audrey needs a break!). Email for availability…..and let the bowl making begin!

(email the instructor Audrey directly on this one –

Instructor :  Audrey Wilson 

Dates :   the Super Bowl Party will take place on the following dates. Take just one or all of them!
              Sat. Sept. 14th from 1 to 3pm
              Tues. Sept. 24th from 7 to 9pm
              Sat. Oct. 19th from 1 to 3pm
              Sat. Nov. 16th from 1 to 3pm   

Tuition : $75 for each session.(limit 6 students per session) 


Class 1507- Open Studio – Work At Your Own Pace


Beginner's Glass Lovers

Already know the basics of casting or fusing? Open Studio gives each student the opportunity to work independently in a world class studio. Tuition includes a kiln firing per session, clear base glass and colored scrap glass, use of studio tools. Note: students working in dry plaster casting need to schedule cleanup date with studio coordinator.

Instructor :  Studio Staff 

Dates :        Wed/Thurs/Sat afternoons (call to confirm appointment) 

Time :        1pm to 5pm 

Tuition :      $300 for 4 sessions


While we overhaul our Paypal online registration connection, please send an Email ( or phone the school at 202-744-8222 to register. 


Brentwood Arts Exchange Is Hiring

Gateway Arts Center, 3901 Rhode Island Ave., Brentwood, MD  20722

Phil Davis – the Acting Director of the Brentwood Arts Exchange advises on the following opportunities at Gateway Arts Center: 

The Brentwood Arts Exchange is hiring for multiple positions including instructors, gallery assistants, and event staff  


Deadline for proposals: August 10, 2013 (received in office)

Send to Frannie Payne, Brentwood Arts Exchange, 3901 Rhode Island Avenue, Brentwood, MD 20722 or send to

The Brentwood Arts Exchange is in need of experienced instructors to teach comic book making for teens, painting and drawing classes for teens and adults and are requesting proposals from individuals interested in teaching those subjects.  Classes should run for 4 or 6 weeks, and to be held in the afternoon (for teens) or evening hours (for adults).  Include a class outline and a materials list in your proposal.

We’re always interested in hearing good ideas.  If you would like to send a proposal on other art related classes and have experience teaching, we will accept those as well. 



Gallery Assistant

Deadline to apply: August 4, 2013 (received in office)

Send a resume and a brief cover letter to Frannie Payne, Brentwood Arts Exchange, 3901 Rhode Island Avenue, Brentwood, MD 20722 or send to

We are seeking a motivated individual who is passionate about the arts for a part time position as a Gallery Assistant.  Job duties include but are not limited to the following:

·         Providing customer service in person and over the phone including retail sales and class registrations

·         Distributing mail within the Gateway Arts Center

·         Routine office functions such as, copying, filing, data entry, and record keeping

·         Hosting at special events,

·         Assisting with installation of art exhibitions, including basic wall patching and painting, basic art handling and packaging.

·         Maintaining the cleanliness of all areas of the facility, set up and clean for classes and events

This is an entry-level position with no experience required.  The position holder must be able to lift and move up to 25 lbs. and be available to work evenings and weekends.  The successful candidate will be outgoing and self-motivated to learn about gallery operations through hands-on work performing the duties above.  Positive qualities in consideration for this position include the ability to communicate in Spanish, experience working in a retail environment, knowledge of craft media and techniques, and familiarity with the safe handling of art objects.


Special Events Staff

Deadline to apply: Ongoing

Send a resume and a brief cover letter to Frannie Payne, Brentwood Arts Exchange, 3901 Rhode Island Avenue, Brentwood, MD 20722 or send to

We are also seeking individuals interested in occasional work hosting special events and projects, including receptions, public lectures and third-party rentals.  Most events occur on evenings and weekends, and shifts are typically 3-6 hours.  Special events staff will assist with setting up, maintaining, and cleaning the gallery and classroom for events that include food and drinks.  Customer service – greeting and answering visitors’ questions, etc. – is an essential component of the job.  Special events staff will be on their feet throughout most of their work time, and should be able to lift and move up to 25lbs.

Katzen Center Panel Discussion "Collecting Sculpture, Glass & 3-dimensional Art"


Collecting Sculpture, Glass & 3-dimensional Art

Thursday July 25th  6:30pm 

The Katzen Arts Center will host the third in a series of panel discussions designed to encourage collecting fine art with advise from established Washington area gallery directors, who will share their knowledge and expertise.

Each panel will feature presentations by gallery directors, who are members of the Art Dealers Association of Greater Washington [ADAGW]. ADAGW galleries represent a broad spectrum of fine art, from established masters to contemporary art, in all media, by artists known locally, nationally and internationally. These art experts will share their knowledge and offer guidelines  


Tim Tate, Dreams of a Lost Love Found, Blown and cast glass, electronics, found objects, video
July 25 Panel presenters 

Margery Goldberg,  Zenith Gallery

Maurine Littleton,  Maurine Littleton Gallery

Jerry Eisley,  Eisley Fine Art 

Dale Johnson,  Watergate Gallery

Panel Moderator: Jack Rasmussen, Director and Curator, American University Museum at the Katzen Arts Center

Tim TateMidnight Messenger, Blown and cast glass, electronics, found objects, video

The seminar is scheduled for tonight, Thursday evening, starting at 6:30pm,

Abramson Family Recital Hall, Katzen Arts Center, American University

4400 Massachusetts Avenue, NW, Washington, DC

ON COLLECTING FINE ART is free and open to the public.  

Reservations Suggested.

PO Box 55289, Washington, DC 20040 * Tel: 202-986-0105 Fax: 202-986-0448