Displaying items by tag: Community

First there was singing and dancing. And then the complaining began.

A storefront art installation in Anacostia that is part of 5x5, the city-wide public art festival, will be removed after community members complained that it looked like junk.

The D.C. Commission on the Arts and Humanities said it will take down “The New Migration” by Abigail DeVille, a found-art project installed in a down-at-the-heels section of Good Hope Road SE.

BRIC, a Brooklyn-based not-for-profit organization that presents contemporary art, performing arts and community media programs, will open a 40,000-square-foot complex in the borough on October 3, 2013. The $35 million project transformed the historic Strand Theatre into a contemporary art gallery, a performance space with seating for 240-400 patrons, a public access TV studio, a glass-blowing studio and more.

BRIC’s new building will also include the BRIC House Fireworks Residency, an initiative aimed at facilitating collaborative projects by artists working in different media; the program is backed by the Rockefeller Foundation’s Cultural Innovation Fund.The exhibition Housewarming: Notions of Home from the Center of the Universe will inaugurate the building’s brand new, 3,000-square-foot gallery. The group show will present works that explore the concept of home.

Leslie G. Schultz, BRIC’s president, said in a statement, “Since 1979, BRIC has used many wonderful spaces in Brooklyn to present artistically excellent and highly accessible programming. The essence of this building’s design – an inviting public cultural space and a welcoming home for the artists in Brooklyn – is entirely consistent with, and indeed was inspired by, the mission of our organization to serve artists and the public in a welcoming and informal environment.”

Prominently situated on the shore of Newport Harbor in the historic Easton’s Point neighborhood, Hunter House (circa 1748) (Fig. 1) exhibits the work of craftsmen practicing in eighteenth-century Newport, Rhode Island. The collection demonstrates the quality and breadth of Rhode Island-made furniture, silver, and pewter, among other decorative and fine arts. The northeast parlor of the house and its interior woodwork, rich in classical details, serves as a backdrop for the collection. Here, locally made wares appear in their appropriate domestic context: within an eighteenth-century structure, its original interiors, and in constellation with the objects used alongside them. Newport’s distinct design tradition is evidenced in the decorative arts and architecture of the house, which reveal the variety of artisans working in close proximity to one another and to Hunter House in the second half of the eighteenth century.