BWS Highlights Newsletter • September 2024

President’s Palette

The “work of art.” This term will mean one thing to one person and something entirely different to someone else. As artists we know that creating art is real work. It takes effort, time, determination, dedication and sacrifice. We study, learn, experiment with subjects, master our medium, and we grow. We must protect the time and space needed for artmaking and make it a priority.

Beyond art’s creation is the “business” of art. Our artwork must be cataloged, photographed and prepared for viewing by the public in galleries, museums and exhibitions. We must also find the appropriate galleries to best display and handle our artwork. Keeping contact with patrons and galleries is ongoing work that takes time and effort away from the studio.

The Philadelphia Museum of Art is currently featuring the exhibition, “Mary Cassatt at Work.” I have enjoyed seeing it several times and will return again before it leaves for San Francisco. I learn something new each time I see it. The exhibition is skillfully curated to explain in letters, written by Mary and her family members, the “work of art.” It presents over 130 diverse pieces that show her “serious work” of artmaking with many subjects and materials, including watercolors and various printing processes that were very advanced in her era.

During Mary’s lifetime, once women were married, they were encouraged to paint and do needlework as a leisure activity while they were overseeing the care of their children and their household staff. Much to her father’s dismay, from a very young age, Mary knew that creating artwork was to be her life’s focus. She invested years in creating artwork and doing the hard work of promoting it, both here and in Europe. As Mary’s distinctive artworks gained in popularity and her patron list grew, she found ways to help and support other artists. She educated many Americans about the Impressionist movement and was instrumental in our museums purchasing the first Impressionist paintings.

The Baltimore Watercolor Society fully understands such responsibility and effort. Following in Mary’s footsteps, we work hard to provide quality workshops, host many exhibitions and promote our members’ works of art and careers. 

The “work” of art -- we take it seriously!

Let’s paint,

BWS President

Thoughts on the Jurying Process for the Mid-Atlantic Exhibition

Jim Sandford, Mid-Atlantic Exhibition Chair

This week as hundreds of applicants contemplate their invitation and non-invitation letters to the 2024 Mid-Atlantic Regional Watercolor Exhibition, I offer some observations on the history of jurying of the Mid-Atlantic and thoughts from our 2024 juror, Russell Jewell.

The Baltimore Water Color Club (BWCC) was founded in 1885 and began its annual exhibition in 1892 (they explicitly called it the “First Annual Exhibition” and carefully numbered their subsequent exhibitions). In the early years, it is pretty clear that control of the content of the exhibitions was the purview of the BWCC’s leadership and inner circle. Transferring this power to an independent juror or juror team must have been a difficult transition to make, and surely came about through a gradual evolution. Many in the art exhibition world were probably going through the same evolution at the same time.

Early newspaper reviews of the BWCC annual exhibition focus exclusively on the included art and artists emphasizing the artistic merits of the show without reference to how it came about. A March 1903 Baltimore Sun article includes the first reference I have found to “judges” (one third of the way down the second column) but does not identify them or say anything about their independence.

(Yes, Childe Hassam was a frequent BWCC exhibitor, and he was probably accustomed to various misspellings of his name.)

The first specific naming of independent jurors that I have found is in a March 1920 article in the Baltimore Sun, which names three judges and cites their credentials. I suspect this level of jurying practice came about a few years earlier in a string of annual exhibitions at the Peabody Art Gallery (the exhibition was held there 12 times from about 1913 to 1924) but the newspapers didn’t pick up on it until 1920.

(The article continues in great detail, spanning the width of the newspaper page.)

From a modern perspective, the importance of naming the jurors/judges can’t be overstated and it seems groundbreaking that this 1920 article did so. From 1920 on, it is very common to be able to find sources that identify the jurors of the exhibitions.

In past articles, I’ve noted that the period between the early 1960s and the mid 1970s was relatively turbulent in the history of the BWCC and its annual exhibition. This period offers a cautionary tale on the hazards of neglecting the jurying process. After 1961, BWCC’s streak of 29 exhibitions at the Baltimore Museum of Art (interrupted only by World War II) came to an end. The reasons for this break were complicated, but BWCC’s archives include correspondence indicating that the leadership of the BMA felt that the BWCC’s jurying standards were falling short of those deemed appropriate for an exhibition at the BMA, and that this was a contributing factor to the break. This painful reckoning was followed by years of recovery, including the transformation of BWCC into the BWS in 1976. The exhibition has never returned to the BMA.

Jurors of today’s Mid-Atlantic exhibitions are given free rein to select any paintings they wish from the body of submitted works. We give them a target number/range based on the size of the gallery, but that is all. We choose jurors based on their overall resumés as water media artists, we consider their teaching credentials (for the Mid-Atlantic Workshop), and we try to select jurors who are not closely involved with the BWS community.

An intriguing question is whether or not reducing the number of jurors for an exhibition is a reasonable trend. I have BWCC/BWS records showing three juror teams to be the norm through 1958, and teams of one or two jurors alternating into the 1990s. We have used single jurors since 1996. One can argue that multiple jurors smooth the bumps and result in a more even, fair exhibition standard. But I might argue the opposite, that (in addition to keeping costs down) a single-juror exhibition can give a more interesting result, in which we can see the world through the eyes of one talented juror/artist, and which has not been reduced to some sort of averaged view. The specific preferences of a single juror can open the door to acceptance of an artist who might be less likely to be accepted under other conditions and can, conversely, exclude very advanced works from veteran artists who are just not that juror’s cup of tea. I think it makes things a bit more interesting.

2024 juror Russell Jewell recently provided us with the following statement about his selection of the 2024 entrants, which is one of the better ones I’ve come across:

“I would like to thank the Baltimore Watercolor Society for the opportunity to judge its 2024 Regional Exhibition. There were nearly 400 entries from which to choose and the task was to discern a top 100 show. Judging such an elite show is very daunting. When taking on such a monumental task one has to ask oneself, “Why do artists do it?” Why do we feel it necessary to bare our souls to the viewing public and take a chance on one person’s opinion? I think the key word is “validation.” Art is communication, art is made to be seen and when art is seen it is seen in the context of every other work of art ever created.”

“When I teach workshops, I often begin with an illustration of people floating on inner-tubes down a lazy river. This image, for me, represents a “River of Art.” Some people are floating ahead of others and some are just getting their feet wet for the first time, but simply by the sole act of creating we are choosing to place ourselves in the river of art. Baltimore Watercolor Society entrusted me to uphold a methodic form of validation, one that navigates today’s artistic currents through experience and education. I commend each artist for your willingness to communicate your voice to the viewing public. I congratulate those who find yourselves in the top 100. At the same time, I want to embolden the artists that were not chosen to continue to visually speak your truth. Showing your work is a safe process. Stay in the river and keep your brushes wet. I look forward to the next phase of judging and visually coming in contact with the cream of the crop. The 2024 Mid-Atlantic Regional Watercolor Exhibition will certainly prove to be a feast for the soul.”

—Russell Jewell (AWS, NWS, TWSA, ED.D)

Russell will select the award winners in this year’s exhibition on October 7, and award presentations will take place at the exhibition’s opening reception on Sunday, November 10 at the Arts Barn and Kentlands Mansion Galleries in Gaithersburg, Maryland.

An evening Zoom session is planned for November 14 where Russell will discuss his philosophy and jurying choices for this exhibition. Keep an eye open to the Upcoming Events section of the BWS website.

Announcement of Accepted Artists to the 2024 Mid-Atlantic Regional Watercolor Exhibition

Jim Sandford, Mid-Atlantic Exhibition Chair

Juror Russell Jewell (AWS, NWS, TWSA, ED.D) has completed his selection of paintings for the 2024 Mid-Atlantic Exhibition, choosing 100 works from 366 paintings submitted by 211 artists. Many thanks to Russell for completing this daunting task. Congratulations to all selected artists, and sincere thanks to all entrants for making this year’s Mid-Atlantic application phase a success.

Selected artists are listed on the BWS Mid-Atlantic web page. Entrants have been notified of the results via email—if you entered and have not seen an email, please contact me at midatlanticexhibit@baltimorewatercolorsociety.org so I can investigate and get the information to you.

Selected entrants will soon receive detailed delivery/shipping instructions for the October 7 drop-off date. If you wish to share drop-off responsibilities with other artists, the list of artists’ hometowns on the BWS Mid-Atlantic web page is a good way to start finding exhibiting artists who live close to you. You can then get specific contact information from the Members pages on the BWS website or app.

Russell will select the 2024 award recipients on October 7 (following painting drop-off) and selected artists will be notified by October 8.

The 2024 Mid-Atlantic Exhibition will be open from October 11, 2024 through January 5, 2025 at the Arts Barn and Kentlands Mansion Galleries in Gaithersburg, Maryland. As the exhibition nears, please consult the BWS Mid-Atlantic web page for directions and information about the best days and hours to visit. The opening reception will be held on Sunday, November 10, 2024, 2-4pm.

Please Consider a Donation to the 2024 Mid-Atlantic Exhibition Awards Fund

The BWS Mid-Atlantic Awards Fund was established to give encouragement to our members and to reward artistic excellence which is the hallmark of our annual show. BWS has taken pride in supporting awards that are generous. We need your help to continue at these levels:

BWS 2024 Mid-Atlantic Exhibition Awards

• Gold Medal Award: $1,500
• Silver Medal Award: $1,200
• Bronze Medal: $1,000
• Significant Awards (6) $700 -$999
• Merit Award (3) $300 - $499
• Honorable Mention (3) - $299
• Memorial Awards (varying amounts)

We invite you to support this effort through a donation to BWS using this link - https://www.baltimorewatercolorsociety.org/Donate

If you prefer to write a check, please mail to April Rimpo, Treasurer, 14032 Howard Road, Dayton MD 21036-1020 (with an annotation that it is for the exhibition fund).

We look forward to recognizing your generosity in the BWS newsletter following the announcement of the exhibition winners. Donations of any amount are welcome, but we want to highlight that donations at these levels will receive special recognition:

• Ambassador: $1000 or Greater
  
• Patron: $750 to $999 
• Benefactor: $500 to $749 
• Advocate: $300 to $499
  
• Champion: $100 to $299
• Friend: $40 to $99

All donations are tax deductible.

If you have questions or require additional information, please contact the Awards Committee (Janet Freeman, Rebecca Rothy and Betty Myers) at awards@baltimorewatercolorsociety.org.

Receive American Frame Discounts Through Our Artist Alliance Program

American Frame is a second-generation, woman-owned, family-run company, dedicated to serving artists like yourself since 1973. Our mission is to provide excellence in custom framing products, fine art printing and related services while advancing a socially responsible company that gives back to the arts. As such, we are proud to be counted among the list of donors to the BWS Mid-Atlantic Regional Exhibition. If you need design assistance or have questions about the website, we are here to help. We offer free samples, phone support as well as face-to-face ‘zoom style’ consultations via our Virtual Showroom. Our goal is to serve you in the way that makes you most comfortable.

Apply your American Frame account to the Baltimore Watercolor Society through this link: https://www.baltimorewatercolorsociety.org/Member-Discount-Codes/12652400 (you must be logged in to BWS Wild Apricot to see the link). Click on the link and sign-up or login to the American Frame Alliance Program and you will receive a reusable discount code as well as earn credit for your purchases for BWS. Be sure to check ‘Agree to Terms and Conditions.’ Once your American Frame account is linked to the Alliance Program, all of your orders will benefit BWS, even if you choose another discount to use for that order (e.g., free shipping).

BWS and Beyond: Social Media Expansion

Have you checked out the Baltimore Watercolor Society’s online feeds lately? Pull up the organization’s page on Facebook or Instagram (the content is similar) and you’ll see much more than in the past.

“I was tapped to handle BWS social media after doing captions for the paintings in the Friendship Heights show this spring,” says Lia Nigro. “I included short bios or quotes from the exhibiting members along with the images. To me, good social media builds community and knowledge, providing a way to celebrate accomplishments or start exploring something new.”

“I hope you’ve noticed that the Manor Mill paintings are being featured, with one or two a day.” Lia also visits other postings of watercolor exhibitions and highlights BWS members who have won an award. “I will also announce juried show acceptances, solo shows, etc. when I learn of them,” she adds. (BWS also has a Facebook group exclusively for BWS members where artists can post paintings they are working on, ask for advice, and so forth in a private forum.)

In addition to member news and BWS organizational news, Lia posts news from the broader watercolor world, exhibit and competition announcements, art history and more. She has special focus posts for most days:

• Teacher Tuesday focuses on a BWS member offering classes.
• Wednesday Wisdom usually provides an art-related quote (amusing or inspirational or both).
• Thank You Thursday focuses on a BWS sponsors. “Not ads,” Lia clarifies, “but some interesting background or something they do to support artists such as a demo or Cheap Joe’s Brushes for Vincent charity.”
• Flashback Friday might spotlight a painting from a past BWS exhibit or provide a bit of art history.
• Saturday Show links to an online exhibition or provides news of a current Mid-Atlantic event.
• Sunday in Memory honors the life of a BWS member or other artist who has passed on.

“Mondays are open right now,” says Lia. “Maybe I’ll keep it like that or maybe I’ll do member spotlights or something else.”

 Follow the Baltimore Watercolor Society for continuing updates.

• Instagram: https://www.instagram.com/baltimorewatercolorsociety/
• Facebook page: https://www.facebook.com/BaltimoreWatercolorSociety
• Facebook member group: https://www.facebook.com/groups/baltimorewatercolorsociety

If you would like to announce an accomplishment, suggest a post, or give feedback related to BWS social media, please contact lianigro@baltimorewatercolorsociety.org.

Calling All Teachers

Did you know you can advertise that you teach on the Baltimore Watercolor Society website? Finally a free place to advertise!
Take a look at our home page to see a sample advertisement, then follow the link to see everyone.

Joining this page is easy: simply edit your profile and answer ‘Yes’ to teaching and add a description of your class with contact info. Don't forget to add an image to your profile if you don't have one. Consider an image of you in the studio, an image of your artwork, or your headshot.

BWS Outreach: Baltimore County High School Art Exhibition, Student Awards, 2024

by Sherry Morell

Pictured left to right, Anne Gavin (Madison Miranda’s teacher), Jim Kuhlman, BWS, Sherry Morell, BWS, Nova Emory (Award winner), Jessica Powell (Nova Emory’s teacher).

This cooperative Awards program was instituted by your BWS Board in 2019 to encourage and reward students painting with watercolor and water-media in the Baltimore County Public High Schools (BCPS). On June 6th, the BWS Sig-WM team of Jim Kuhlman and Sherry Morell (Past President) had the honor of presenting the “BWS Awards for Excellence in Water-media Paintings” at the 36th Annual Baltimore County High School Art Exhibition held at the Towson University “StarTUp at the Armory” facility in Towson. Before retiring, Jim taught art for 42 years, with his final 20 years at Dulaney H.S. (in Towson) as Art Department Chair. Together, Jim and Sherry distributed the $100 checks for the two award- winning paintings, to much cheering and applause. Jim had the “Words of Commendation” and Sherry had the “Money.”

At the June Awards Ceremony, only one of our two recipients was available, but both of their teachers were present. During the presentation Jim highlighted the reasons that each painting was chosen for its award. The students also had to write a paragraph elaborating on the inspiration and motivation in creating their work. Those paragraphs were included in the catalog as being a part of their artwork considered for an award, and excerpts are included below.

Madison Miranda’s acrylic self-portrait, “What Lies Beneath,” Kenwood High School:

Miranda wrote that she created the work to explore her own mortality - inspired by an x-ray taken for wisdom teeth surgery. Realizing her mortal nature as a creature made of blood and bone, she collaged the x-ray with a self-portrait - as Jim put it- “integrating the painful opportunity to see inside yourself through the x-ray… and deeper yet.” Miranda said she then combined color and the skeletal teeth to recall the Day of the Dead holiday and celebrated both her glowing youth and internal misshapen bones, signifying the timeless theme of life and death, interpreted in a new and personal way. Jim also commented that “her acrylic skills were evident on the surface of her asymmetrical composition and how she guided the viewers well with explanations of her use of “wet palette, damp paper and dry paint without water” along with other acrylic techniques.” Her teacher, Anna Gavin, says Madison is a perfectionist in her art. Madison will be studying Veterinary Medicine next year.

Nova Emory’s watercolor self-portrait “Rose and Sage,” Patapsco High School and Center for the Arts:

Nova wrote “Self-portraiture as well as pieces exploring assets of my own identity and emotions have always been a consistent factor in my artworks. ...All of which culminated into a self-portrait made to practice my skills in layering watercolor to show a range of undertones within the figure.” Her teacher, Jessica Powell, said that Nova has a tremendous ability in rendering and presented a 5’ x 7’ watercolor for the Figure Final exam! Jim commented – “You have indeed used traditional watercolor techniques well. I commend you on your integration of background with subject, attention to pattern and the flow of hair and the quiet introspection of the gesture and facial expression conveying the same message.” Nova will be attending Montserrat College to study Illustration.

Congratulations to them both and we wish them much success in their future endeavors. We look forward to expanding this program in the coming years to encompass other Maryland counties and to celebrate their student artists as well.

Membership

Welcome New Associate Members

Register for the BWS Luncheon on September 23rd!

Plein Air Event at the Women’s Club, Washington Grove
https://baltimorewatercolorsociety.org/event-5679197

Other Organizations’ “Call for Entries”

New Jersey Watercolor Society
2024 Annual Open Juried Exhibition
October 6 - 26, 2024
Middletown Arts Center, NJ
Application deadline: September 3, 2024
https://www.njwatercolor.org/annual-open-juried

Columbia Art Center
Color Columbia Plein Air Paint Out
October 29 - November 2, 2024
Wilde Lake and Lake Kittamaqundi, Columbia, MD
Application deadline: October 15, 2024
https://columbiaassociation.org/community-program/columbia-art-center/pleinair/

The Miniature Painters, Sculptors and Gravers Society of Washington, D.C. (MPSGS)
Annual International Exhibition
November 23, 2024 - January 11, 2025
North Bethesda, MD
Application deadline: September 7, 2024
https://MPSGS.org

California Watercolor Association
55th International Exhibition
February 15 - March 23, 2025
Piedmont Center for the Arts, SF Bay Area
Application deadline: September 15, 2024
https://bit.ly/intlexhibit

The International Society of Experimental Arts (ISEA), another one of our BWS Mid-Atlantic Sponsors of Awards, is holding an art Symposium in Grand Haven, Michigan at Central Park Place from September 18 - 21, 2024. Several workshops from half day to 2-days in length, free demos, educational talks, and tours to chose from. Further details can be found at https://www.iseaartexhibit.org/Symposium2024.