The Unraveling - Political Performance Art by Adrienne Sloane

January 15, 2020

The Unraveling, cotton knit and polyester and cotton fabric, 2017 — *The Unraveling*, cotton knit and polyester and cotton fabric, 2017

13FOREST Gallery is pleased to present The Unraveling, an installation by fiber artist Adrienne Sloane, on view January 18 to February 7, 2020. This temporary installation will culminate with a performance by Sloane and a reception on Sunday, February 2 from 4-6 pm.

Sloane was moved to create The Unraveling in the wake of the 2016 election, as a response to the shocking actions of the Trump administration. The installation consists of a hand-knitted American flag that hangs in front of a copy of the United States constitution printed on fabric. Sloane has been performing a series of “unravelings” since she developed the installation, slowly pulling apart her knitted flag to reveal the constitution underneath. She is committed to continue unraveling the flag in public performances until President Trump has been removed from office, or until there is no flag left. Recently featured as the centerfold in Artscope magazine, Sloane had this to say of her ongoing project:

As I listen to the news while in my studio, I often find myself responding viscerally and through my art to the political landscape of the day. Since the 2016 election, the news has been dominated by an unorthodox administration that I see as undermining our democracy, national unity and the values we stand for as Americans...Set against the backdrop of the constitution, I will continue to unravel this piece as long as I continue to see our civil and political rights eroding under the current administration.

As Congress prepares to begin the impeachment trial of President Trump, the installation of The Unraveling at 13FOREST offers a powerful opportunity to reflect on the state of our national identity. Sloane intends not only to comment on the current political climate with The Unraveling, but to challenge her viewers to take action against the forces dismantling American democracy and values. Her installation includes a postcard writing campaign designed to encourage people to contact their elected representatives. Sloane's politically engaged knitted art belongs to a long history of fiber arts and craft used in political protest and institutional critique. In an article featuring The Unraveling in WBUR's the ARTery, Society of Arts + Crafts executive director Brigitte Martin explained that "Sloane is creating fine art work that uplifts a lineage of female artists who re-situated knitting — a skill often diminished as domestic and feminine — into piercing political commentary." Craftivist Betsy Greer expands on similar ideas in her article "Crafting Understanding: Addressing Political Issues Through Stitch," which places Sloane's work in context with other politically active contemporary fiber artists.

Sloane's powerful and poignant work has been acclaimed by many arts institutions, resonating with audiences throughout New England. The Unraveling has been featured by the Society of Arts + Crafts, the Fuller Craft Museum, the New Bedford Art Museum, and the Rockland Center for the Arts in West Nyack, New York. After 13FOREST Gallery's exhibition of The Unraveling, the piece will be installed in the Massachusetts State House in Senator Will Brownsberger's office, with a public unraveling and reception on Tuesday, February 18 from 3-5 pm.

Adrienne Sloane next to The Unraveling (Courtesy Society of Arts + Crafts) — Adrienne Sloane next to *The Unraveling* (Courtesy Society of Arts + Crafts)

Hyman Bloom, Edgar and Me - when a security guard becomes a docent

January 13, 2020

Hyman Bloom, The Stone, oil on canvas (1947) - now on display at the Boston MFA as part of its exhibition Hyman Bloom: Matters of Life and Death — Hyman Bloom, *The Stone*, oil on canvas (1947) - now on display at the Boston MFA as part of its exhibition *Hyman Bloom: Matters of Life and Death*

The difference between looking and seeing is that of perceiving an object and understanding it - or at least communicating with it. Some things can never be fully understood. I was reminded of this today while walking through the MFA and stopping to speak to Edgar, a Mexican immigrant who had become a museum security guard after losing his job as a butcher. He walks miles a day through the museum and today he happened to be stationed in the Hyman Bloom exhibition hall, where I spent the afternoon. Standing alone in front of Bloom's painting The Stone, I asked Edgar, "What do you think of this?"

"I hated this show and that painting when I first got here, but now they're my favorites ones."

"Why? What is it about this painting in particular?"

"A month after the show started,” Edgar replied, “I noticed that the painting looked a little like the [early] Jackson Pollock paintings hanging in the hallway. And I noticed them because they reminded me of the molas I grew up around. They look a little like the Alaskan carvings in one of the other rooms, too."

I was pretty impressed. "Pollock knew pre-Colombian art, and you're right about the mola and Alaska connections."

Edgar went on, "So I stood in front of [The Stone] and looked at it for a long time. I saw jewels and land and light in it - something alive in something that never lived. It changed how I see everything else by this artist"

"Do you think it's true, that non-living things have life?"

"Not life," he replied with a pause, "just souls."

Walking to the next painting, I said to Edgar, "I think Hyman Bloom would like that. You should be a tour guide."

He looked at me. “It would be nice to make people stop and pay attention to more things,”

Jim Kiely

Hyman Bloom: Matters of Life and Death will be running at the MFA through February 23, 2020.

MoMA Finally Finds Faith Ringgold

January 4, 2020

On January 2 a cartoon strip running atop the entire New York Times Arts & Leisure section caught my eye. Part of it alludes to a visitor conversation overheard at the Museum of Modern Art about painters Faith Ringgold and Pablo Picasso, two of whose works now hang side by side in the museum. In mildly drole fashion the strip made at least two important points: the fact that MoMA has abandoned its ism-based method of displaying art, which inherently excluded artists of color and of various ethnicity; and, in doing so, it has expanded its notions of what constitutes exceptional art and who exceptional artists are.

Faith Ringgold, American People Series #20: Die, oil on canvas, 6’ x 12’, 1967 — Faith Ringgold, *American People Series #20: Die*, oil on canvas, 6’ x 12’, 1967

Faith Ringgold is an 89-year-old, black American painter, fiber artist and book illustrator who in her student days studied European art history, including Cubism. In 1967 she painted American People Series #20: Die, which combines the Cubist grid of Picasso’s Guernica with her own black consciousness to present the brutality of American racism. Considered an achievement in synthesis by its contemporary reviewers, the work (like most of Ringgold’s output) was infrequently displayed because of its political content. Two generations later, MoMA, which owns this painting, has finally reconfigured itself so the destruction of Francisco Franco’s bombing raid and the destructive force of racism can both be brought to people’s attention - on an equal footing.

Pablo Picasso, Guernica, oil on canvas, 11’ 6” x 25’ 6”, 1937 — Pablo Picasso, *Guernica*, oil on canvas, 11’ 6” x 25’ 6”, 1937

In the cartoon strip, visitors make the connection between Ringgold and Picasso, even though it is the latter’s Les Demoiselles d'Avignon and not Guernica that hangs at MoMA. It indicates, perhaps, that the museum’s modernization can in fact broaden not only our collective memory of images, but also our ability to make connections between the consequences of human behavior.

Here’s a link to an interview of Faith Ringgold conducted by the Tate Modern in 2018. If you do not know of her or her work, it will serve as a first-rate introduction to both. Interview of Faith Ringgold

Left to right at MoMA: Pablo Picasso, Les Demoiselles d'Avignon, oil on canvas, 8’ x 7’ 8”, 1907; Faith Ringgold, American People Series #20: Die — Left to right at MoMA: Pablo Picasso, *Les Demoiselles d'Avignon*, oil on canvas, 8’ x 7’ 8”, 1907; Faith Ringgold, *American People Series #20: Die*

Jim Kiely

13FOREST / 13 Years - celebrating the holidays and our anniversary

December 11, 2019

On Friday, December 13, 2019 from 6-8 pm we will be holding our annual holiday shindig. Adding to the festivities, we will take the occasion to celebrate our thirteenth anniversary as a gallery that presents the work of primarily Boston-area artists to the public. Everyone is invited join us for food, drink and our annual Holiday Sale, which will continue through Sunday, December 29.

Over the years artists and customers have asked questions about the gallery’s founding and mission. What does the name mean? How did you start? What’s the scope of your work? With all that in mind, I would like to take the opportunity to present a short history of 13FOREST Gallery and of how it has evolved over time.

In the beginning (2006): our first, tacked-up sign in Medford

Our storefront today, in East Arlington’s Capitol Square

In late-winter 2006, my husband Marc Gurton and I established 13FOREST Gallery shortly after he had been hired by photographer Lisa Tang Liu to serve as the accountant for her 500-square-foot Pigmentia Gallery, located at (surprise!) 13 Forest Street in Medford, Massachusetts. By the fall she decided to give up the gallery so we took over the lease with the hope that, should we be able to keep the lights on through Christmas, we could try to build a gallery business. We wanted to highlight our unusual position as the only gallery in Medford Square, so we adopted our street address as the name of our new business venture.

After two years in Medford we saw an opportunity to join an up-and-coming commercial district of East Arlington, which was soon to be named Capitol Square. After some renovations and the addition of shelving and moveable walls, what was once a dry-cleaning establishment on Mass Ave became our new home in February 2008. On February 29 (Leap Day) we opened our new gallery space with an exhibition titled Leap to celebrate both the day and the risk we had taken by moving to a new town. Will anyone come? It was a question every business owner asks before unlocking the door. That evening, people did indeed come, and in numbers so large that a line (and a party) formed outside the door.

From the start our mission of serving local artists has not changed. Today we present the work of over 100 artists, nearly two-thirds of whom are women. This includes painters, printmakers, photographers, sculptors, ceramicists, glassblowers, jewelers and fiber artists. We also open our space to musicians, singers, lecturers, filmmakers and a host of other people whose form of artistic expression is immediate and experiential. As a business we are, of course, glad when we sell artists’ works; however, we are also pleased when customers lend their observations or find joy in the work we present.

As our thirteenth anniversary has approached, people have asked about our favorite moments in the gallery. It’s a difficult question to answer, as there have been many for us and for the artists we work with. These are some of them, each representing a lot of work by many people: surviving the US economic collapse of 2009, making art publicly accessible to customers and visitors through exhibitions, conversations and commissions; winning the WGBH “Best Art Gallery in Boston” Award - twice; seeing the careers of artists expand into publications, museums, schools and universities; establishing close relationships with business associations, public-art organizations, cultural councils, museums, universities and political organizations; and, finally, orchestrating an annual pop-up gallery in Provincetown. When I think about it, the list doubles and then triples.

Larger than life: Marc featured as part of the 2016 Storefront Stories project in East Arlington

Gallery Director Caitee Hoglund and me hanging new work by Kenji Nakayama

Running 13FOREST Gallery has made us aware of the immense amount of artistic talent in the Boston area. Our only regret about the gallery is that it’s not large enough for us to put more of it on display. The artists with whom we do work are intelligent, open to new ideas and dedicated to communicating them through the means they know best. They amaze us with the constantly shifting expressive paths they choose to forge. All of this commands our respect and over time it has led us to form great friendships with our community of artists and the wider artistic community of which they are a part. Our mission has complexity, but above all else it is an intellectually and emotionally joyful endeavor. It becomes even more so when, standing in the gallery, customers come upon artworks that resonate with them even if it’s for reasons they cannot fully explain.

If you’re reading this article, you are part of the reason that 13FOREST Gallery has been a success. To bring this full circle, therefore, let us invite you once again to our holiday party. We couldn't have made it here without you.

Peace and the happiest of new years to you.

Jim Kiely

Gallery storefront during our annual pop-up in Provincetown at 444 Commercial Street

Accessory 2019

December 4, 2019

This holiday season we are excited to bring back Accessory, a trunk show featuring new work from our talented group of jewelers. Join us from 12-4 pm on Sunday 12/8 for a mimosa, a chance to meet the artists behind our fantastic jewelry collection, and of course some unique holiday gift shopping!

Last year’s event was great fun, and this year will be another perfect opportunity to treat yourself or someone special in your life. And don't forget, all jewelry is 10% off as part of our Holiday Sale.

Meet the Artists

Katey Curtis

Lisa Gent

Karenna Maraj

Wendy Jo New

Landscapes revisited - Jackson Pollock and Katharina Grosse at the MFA

November 17, 2019

Foreground: Katharina Grosse, Untitled, 2019 (acrylic paint on fabric) - Background: Jackson Pollock, Mural, 1943 (oil paint and milk paint on canvas) — Foreground: Katharina Grosse, *Untitled*, 2019 (acrylic paint on fabric) - Background: Jackson Pollock, *Mural*, 1943 (oil paint and milk paint on canvas)

At the MFA through February 23, 2020 is a two-painting exhibition titled Mural: Jackson Pollock | Katharina Grosse. Pollock's work is the 1943 masterpiece Mural, an 8' x 20' oil-and-milk-paint canvas that Peggy Guggenheim had commissioned him to create for the hallway of her apartment in Manhattan while he was still an unknown janitor. The painting filled an entire wall there until Guggenheim relocated to Venice in 1947 and donated the work to the University of Iowa. German painter Katharina Grosse's 2019 work Untitled is a 16' x 48' acrylic-on-fabric installation commissioned by the MFA. Like flowing stained glass, its mass hangs from the museum gallery's ceiling and drapes onto its floor. Notably, the work can be viewed from front and back.

The MFA was brilliant in hanging the two paintings in one gallery, but not for the reason suggested by the show's title. Neither work is a mural, which is a painting applied directly to a wall; neither is some "anti-mural" statement despite suggestions made by the museum’s wall text and video; and neither tackles the issues of permanent placement. What Mural and Untitled do have in common, however, are that they are grandly gestural and coexist within the vernacular of landscape painting. Rather than centering the show around a misplaced thematic concept, the MFA might have done better by focusing on how two such dissimilar paintings can be experienced as landscapes. It would have decoupled the works from each other but done nothing to de-legitimize their being the basis for an exhibition. Since the museum did not do that, I will with the intention of encouraging people to view the extraordinary paintings for themselves.

Jackson Pollock, Canvas, 1943 (oil paint and milk paint on canvas) - 6’ 8” x 19' 10" — Jackson Pollock, *Canvas*, 1943 (oil paint and milk paint on canvas) - 6’ 8” x 19' 10"

It is futile to try to reckon with art entirely by pondering why an artist has created a specific image; art is ambiguous and its creators’ minds are too complex for us to draw comprehensive relationships between them. When we try, we might find some connections, but they can only partially inform our experience of what is in front of us. The rest is up to us. Such is the case with Jackson Pollock, a man of great emotion and intellect who absorbed theosophy, Wassily Kandinsky’s spiritual writings and Jungian theory. In interviews he frequently discussed North American indigenous shamanism and the belief of Pacific Northwest Indians that spirits animate everything in nature. Pollock, who maintained that he would enter trance states while painting, considered the physical world a veil that concealed an enduring, force – or set of forces – permeating everything. He could not fully represent this invisible realm, but he was a master of orienting us toward it. His paintings from the mid-1940s onward are open-ended invitations for us to reconsider what is real. That journey remains our own.

Mural lifted Pollock out of obscurity because it was commissioned by Peggy Guggenheim, who was a well-known art collector and insatiable socialite. Looking at the painting, we should bear in mind that it originally hung only a few inches off the floor and that Pollock had intended it to be seen up close, for Guggenheim’s entry hall was only 13' wide. Serving as a vertical framework is a procession of stick figures that would have stood on about the same plane as visitors to Guggenheim’s apartment. The procession anchors Mural in the genre of landscape painting; and the land they inhabit is one of emergence and disappearance. Here thickets, eddies and ribbons of paint briefly settle into letters, biomorphic forms and disembodied faces that rise and fade as we walk the painting’s length. These combined details suggest a space in which time, generation and spirits are perpetual and entwined. In that respect Mural befit the nature of Peggy Guggenheim’s home where, through circumstances of wealth and war, expatriates, artists and intellectuals converged to drink, commingle thoughts and then disburse – one day after the next.

Today the artist, his patron and members of her circle are gone. Mural, however, has outlived the specifics of its origin and placement. From the confines of museum walls, it still points in the direction of something essential.

Katharina Grosse, Untitled, 2019 (acrylic paint on fabric) - detail

Grosse's painting Untitled is differently and equally engaging. By using a permeable fabric and thin spray paint, she could compose on one side of the work and let a reverse image bleed through to the other side. From there Grosse applied more paint - apparently to both sides - without a bleed. The artist is a master of her materials and this was no aesthetic gimmick. The difference between the painting’s two sides is more than a reversal of image; it is also an energetic reversal of place. Seen from the front, Untitled reads as a landscape, where flora, geology and shafts of light converge as they might in forests and on mountainsides. On its reverse, color and complexity remain but there is more empty space, out of which emerge suggestions of urban structures and roadway interchanges, of sound and movement. In this work Grosse performs the remarkable feat of presenting two versions of the world we inhabit, each imbued with its own sense of place and purpose. Walk slowly around Untitled and you will feel part of a binary environment much bigger than yourself.

When you have an hour or two, pay a visit to Mural: Jackson Pollock | Katharina Grosse. The MFA deserves praise for presenting the artists’ works side by side. Nonetheless, my suggestion would be that, once there, you move beyond the show’s title and much of the its explanatory material. Neither sheds light on what is in front of you. Try this instead. Walk the gallery mindfully and know that, like three-dimensional landscapes, the multifaceted nature of these paintings can produce moments of wonder and knowing.

Jim Kiely

In the Path of the Stones - Arlington International Film Festival

October 30, 2019

On Saturday November 9 from 4-6 pm, 13FOREST Gallery is pleased to host a post-screening reception for the US premier of the film In the Path of the Stones, as a part of the Arlington International Film Festival. After a screening of the film at the Capitol Theater at 2:30 pm, we will be joined by the director of the documentary, Marco Antonio Pereira, for refreshments and a Q&A at 13FOREST.

In the Path of the Stones/No Caminho das Pedras

This mosaic of stories was created to honor the 450th year of Rio de Janeiro and to celebrate its process of urbanization. The film chronicles the rich history of the famous sidewalks made of Portuguese stones, since their appearance in Lisbon in the mid-19th century to their arrival in Rio de Janeiro, revealing the art, referencing the cultures and the omnipresence of the stones under the Carioca’s and Portuguese’s feet. The film includes the participation of musicians, poets and visual artists from Brazil and Portugal who were inspired by the works of art. Watch the trailer here.

About the Director

Born in Cordisburgo, Brazil, Marco Antonio Pereira is a film director, illustrator, publisher, music producer and guitarist. He has a degree in journalism and also studied film at the Escola Livre de Cinema in Belo Horizonte. Pereira founded the Arte e Vocação social project, a series of mobile film workshops held throughout Brazil. His short film A retirada para um coração bruto has screened at festivals around the world.

Outside|In 2019

October 12, 2019

13FOREST Gallery is pleased to present our third annual Outside|In event highlighting public art around Arlington. In collaboration with the Arlington Commission for Arts and Culture and Arlington Public Art, this year we are excited to host artists Freedom Baird, Michelle Lougee and Katherine Shozawa. Please join us on Friday, October 18 from 6-8 pm for a reception and discussion with the artists. The reception will start at 6 pm, the talk at 6:15 pm.

Freedom Baird's installation Room to Grow was set just off the Minuteman Bikeway near Spy Pond during the summer, and was part of the PATHWAYS project to bring contemporary art to the bike path. Room to Grow featured reclaimed furniture that Baird arranged like a bedroom. She filled the room with native plants that grew over time and took over the space she created, encouraging the viewer to think about the relationship between man-made and natural habitats.

Michelle Lougee has been appointed to a year-long residency for the town of Arlington. Lougee will work with the community through the Crochet Collaborative to create a large-scale outdoor sculpture that will be placed along the Minuteman Bikeway as a part of PATHWAYS. Lougee crochets colorful, organic-looking structures out of recycled single use plastic bags to call attention to the deadly impact that plastic waste has on the health of the environment.

Katherine Shozawa heads up the Vita Project, a participatory public artwork that explores cultural vitality as a form of physical fitness. Through interactive sculpture and performative prompts, the Vita Project invites the public to experience an inventive reinterpretation of the existing Vita Course — a series of Swiss exercise stations, also known as “parcours,” dating from 1968. These fitness courses were once adapted for parks throughout the United States; the remains of Arlington’s Vita Course winds along walking trails in historic Menotomy Rocks Park.

#OnePulse #OrlandoStrong

October 11, 2019

Schedule of Events

Sat 10/19 - Sun 10/27: #OnePulse #OrlandoStrong window installation at 13FOREST Gallery

Sun 10/27, 4-6 pm: Día de los Muertos - #OnePulse #OrlandoStrong reception with artist Nayda A. Cuevas and events throughout Capitol Square

Día de los Muertos (Day of the Dead) is a holiday of reverence for one's ancestors that dates back to the Aztec celebration of Mictēcacihuātl, Queen of the Underworld. Though Día de los Muertos originated in Mexico, people across the Americas have adopted and modified the tradition with their own unique cultural contributions. Each October Capitol Square brings Día de los Muertos back into focus with Latinx memory altars, food and activities. For this year's Día de los Muertos festival 13FOREST Gallery is pleased to highlight the work of artist Nayda A. Cuevas, who will install her #OnePulse #OrlandoStrong series of paintings in our window.

#OnePulse #OrlandoStrong is a series of paintings honoring the victims of the Pulse nightclub shooting on June 12, 2016 in Orlando, Florida. Forty-nine primarily Latinx people were killed in what is now recognized as the second deadliest mass shooting in the United States, and the deadliest incidence of violence against LGBTQ+ people in American history. Cuevas completed the series of paintings, one depicting each of the 49 victims individually, during a residency that took place shortly after the shooting. Struggling with her own feelings of dismay and mourning, Cuevas undertook the project as a way to memorialize the people who died in the horrific shooting and to process her emotions. As mass shootings become more frequent and consume more of our collective consciousness, it can be easy to feel numb and to forget victims and their families once a new shooting takes place. Cuevas' portraits bring the identity and humanity of these victims back to the forefront. As a Catholic, Cuevas observes All Souls Day; her window installation at 13FOREST marks this holiday and honors the memory of victims of gun violence.

Beyond paying respect to the people who were killed during the Pulse shooting, Cuevas' series of paintings serves as a larger exploration of portraiture in modern times. Each painting in the series is a recreation of a selfie taken by a victim of the shooting. Cuevas reflects on the meaning of selfies and the effect of taking a digital image and rendering it in a more traditional medium:

Just as the modern artist exploited the portrait’s potential to convey identity, the 21st century selfie trend extends this practice to the common person, the non-artist. Exploring the selfie and its increasing prevalence in our culture led me to realize that there are subthemes within how people examine or present identity such as ethnic, gender, or religious identity. Selfies are an expression of one’s identity, however contrived or imagined it may be. At the same time by engaging in traditional forms of portrait painting —namely, naturalistic representations of people rendered in oil on panel— I seek to challenge how we currently consume images at an alarming rate and volume, without devoting substantial time or energy to sufficiently digest, contemplate, and understand what we see. This condition is created because we now experience the world through digital devices such as cell phones, which provide easy and instant access to imagery from a wide range of sources. Over-reliance on devices is harming our ability to have valuable face-to-face conversations — the most human thing we do — by splitting our attention and diminishing our capacity for empathy.

About the artist

I started making art in order to deal with a sense of alienation and the absence of familiar people and places in my life. At the age of ten, my parents made the decision to move our family from Puerto Rico to Florida. Being relocated at a young age evoked a new sense of self-exploration and need to establish connections with people. Painting the figure became a means to understand people and create connections in my community, while exploring a visual language to better articulate my observations and interpretations of my Latin@ American Experience. It is this identity that guides my work to cultivate awareness of “otherness" in American culture, while raising questions about belonging and feelings of displacement.

Call of the Wild!

March 9, 2019

The mission of 13FOREST Gallery is to introduce the work of new and established artists to a broader public. In this vein, we are taking the unusual step of issuing this call to New England artists for our spring exhibition.

Our intention is that participants will include artists whose work we have already shown as well as representatives from the broader community of artists in New England. From the submissions we receive, we will choose a group of about 15 to 20 artists to exhibit in our spring show, Call of the Wild, running from May 18 to July 12, 2019.

Explanation of Theme

Animals is the theme we have chosen. Humans have a broad range of interactions and relationships with animals, from the pets we keep in our homes to the food we eat. We are looking for work that reflects the significance that animals have in our lives, encompassing folklore and fables, religion and spirituality, environmentalism and conservation, and pure fantasy. The work does not have to exist already; you can also submit a sketch and description of a piece you would like to create. We have listed our submission requirements and calendar of deadlines below; please feel free to get in touch if you have any questions. We look forward to seeing your submissions!

Submission Guidelines

To submit a proposal for new work: send a sketch and description of how thefinished piece will appear by the submission deadline
For work that already exists: please submit images of the finished piece and a brief description of the intent/content of the work
Artwork must have been created within the past five (5) years
Artwork cannot have been shown before at the gallery
Preference for two-dimensional work, some sculpture or performance pieces will be considered
Maximum of three (3) submissions per artist
Size requirement: no larger than 20" x 20"
Artists must reside in New England
Send submissions via email to info@13forest.com

Calendar

Wed 3/20: Submission deadline
Wed 3/27: 13FOREST will notify artists if their submission has been chosen
Fri 4/5: Submit images (if you want to be included in press release)
Sat 5/4: Submit images of finished work
Sat 5/11: Drop off work - framed, wired, ready to hang
Sat 5/18, 4-6 pm: Opening reception
Sat 6/29, 4-6 pm: Summer party