Grant Support from the Clark Hulings Fund


New York: The Clark Hulings Fund For Burgeoning Visual Artists is pleased to announce that Lydia Musco and Lauren Frances Adams, two emerging artists, have been named the Fund’s first grant winners.

Says Elizabeth Hulings who, with her mother Mary, founded The Fund in honor of her father, Clark Hulings, “On behalf of the distinguished panel of judges, I am delighted thatLydia Musco and Lauren Frances Adams were selected as the Clark Hulings Fund’s first grant recipients.  Because of the quality of their work, their innovation and nature of their projects for which they requested assistance, these two women offered the strongest excellent potential for The Fund to make a tangible difference in each of their careers.”

In conjunction with her gallery show at the Petersham Art Center, in Petersham, Massachusetts, Lydia Musco, from nearby Royalston, will use the grant money to create a new outdoor sculpture specifically for the Art Center’s lawn. “When the The Petersham Art Center invited me to mount an exhibition, I was keen to juxtapose my smaller pieces with a larger-scale work installed outside the building,” says 35-year old Ms. Musco.  “Although my work is influenced by urban spaces and environments, it is equally fed by a connection to the rural, wooded landscapes I explored while growing up. Along with ideas of architecture and constructed space, certain fundamental elements of nature have remained within my visual and object-making vocabulary, such as sedimentary layers and the work of gravity and time. This grant now allows me to create a new outdoor sculpture, gaining valuable experience within the realm of public art and I thank the Clark Hulings Fund for their generosity and support.”  Ms. Musco was awarded a $5,000 grant.

Growing up in the rural American South, 34-year old Lauren Frances Adams, who now lives in Baltimore Maryland, sought support for an upcoming seventh-month site-specific installation next April 2014 at the historic Clermont Farm, a former plantation slave-holding site in Clarke County Virginia, managed by the state of Virginia. Says Ms. Adams, “At the center of my work is a concern with what defines American identity. As Bruce Nauman once said, ‘art is a means of acquiring an investigative attitude.’ Continuing this exploration, the upcoming project with the Rotating History Project at the Clermont Farm in the Shenandoah Valley of Virginia has afforded me the opportunity to make a new site-specific body of work.  Alongside seven other artists, I will make archival inquiries into the layered history of the former plantation farm: once a pre-Columbian Native American hunting ground, then famously surveyed by George Washington, then a successful slave-holding farm, and now a whisper of its past selves. I have been given the original 1755 sitting room of the house for an immersive installation, which I am still developing but will involve painting and image-making.” Ms. Adams received a $4,500 grant.

The judging panel included Meredith Bergmann, Peter Falk, Thomas R. Kellaway, Philip Koch, Dan Ostermiller, Jennie Ottinger, and Bart Walter.  Peter Falk, of Rediscovered Masters, based his decision on three criteria: “First, the images had to be innovative and compelling right off the bat. Next, they had to make me think deeper about what I was absorbing, and finally, they had to possess the power to make me return and explore the submission afresh.”

Says Philip Koch, an expressionist painter with roots in realism, and a professor at the Maryland Institute College of Art, Lauren Frances Adams takes a contemporary look back at traditional Americana, borrowing elegant lace-like designs of traditional decoration like

wallpaper and inserts it into unexpected images, such as the struggle for justice of the labor movement. Looking at her work gives you a surreal double-take, while Lydia Musco’s irregular  hand-built organic towers are imposing, yet humble, and seem to gesture with their own personality.”

About Clark Hulings

Clark Hulings’ ascendency in the art realm began in 1945 with a one-man show in Santa Fe, NM, the first of two-dozen gallery presentations he would have over the course of a peripatetic 65-year career. The capstone show took place at New York City’s esteemed Forbes Gallery in 2011, just seven weeks after his death. Writing about this solo exhibition, “ClarkHulings: An American Master,” in a lengthy article about it in the March/April 2011 Fine Art Connoisseur, Peter Trippi called Hulings’ vividly realistic tableaux of village and farm life in Europe, Mexico and the United States “superb.”

Even though Hulings’ representational works stand in stark contradistinction to the Expressionistic, Pop and Minimalist creations of his peers, Trippi noted that he relished “enormous success among private collectors and commercial galleries, yet never became familiar to [the] mainstream,” a circumstance that produced no resentment on Hulings’ part. “I enjoyed what I was doing so much that there was no point in trying to be somebody else,” he said genially. “I decided to be the best I could be in painting conventional subjects in a traditional style.”

Hulings took a keen interest in colleagues who appreciated his self-assured approach, sharing his expertise with them at institutions like the New York City’s venerable Art Students League. Following Hulings’ death, at age 88, his wife Mary and daughter Elizabeth considered ways for them to carry on his collaborative spirit, leading them to establish TheClark Hulings Fund.

All contributions to the Clark Hulings Fund, a 501 C-3, are tax-deductible. For more information, visit


The Neighbors at American University Museum

THE NEIGHBORS April 1 – June 1 Curated by Zoë Charlton and Tim Doud at the Katzen Arts Center at American University, Washington, DC In Residence: The Neighbors is the third and final installment ofa three part colloquia series highlighting the reciprocity between the Washington art community and academic institutions in the DC metro area. The exhibition, co-curated by professors Zoë Charlton and Tim Doud, illustrates a cross-section of nineteen talented and diverse teaching artists from thirteen universities and colleges in the area. Artists: George Washington University: Julia Brown, Dean Kessmann George Mason University: Mia Feuer Georgetown University: John Morrell Catholic University: Jonathan Monahan Howard University: David Smedley Corcoran College of Art and Design: Ivan Wittenstein James Madison University: Jesse Harrod University of Maryland Baltimore County: Calla Thompson MICA: Zlata Baum, Lauren Adams, Fletcher Mackey, Sangram Majumdar Towson University: Nora Stuges, Amanda Burnham Bowie State University: Gina Lewis McDaniel College: Steve Pearson University of Maryland, College Park: Hasan Elahi, Dawn Gavin Speculative Column (Modified reproduction of the column from the Rotunda for the Charters of Freedom, National Archives, Washington, D.C.) Gouache on vinyl 4′ x 17′ Katzen Center for the Arts, American University, Washington, D.C. 2014 The Rotunda for the Charters of Freedom at the National Archives in Washington, D.C. displays the Declaration of Independence, the Constitution of the United States, and the Bill of Rights. These three documents, known collectively as the Charters of Freedom, have set forth the rights of the American people for more than two hundred years. My artwork for the Katzen Center for the Arts at American University in Washington, D.C. is a reproduction of one of the columns flanking the documents within the rotunda. The columns boast an eagle as a decorative finial, an enduring symbol of American patriotism and supreme power and authority. An addition to the column is a commonly found surveillance camera. The juxtaposition of these references within the wall painting point to the ongoing challenges to basic rights of American citizens as we enter a hyper-vigilant surveillance state. As technology advances and rights are usurped in the name of national security, and because privacy is linked to freedom of expression and many other rights, the combination of the column and the camera reveal an inherently irreconcilable violation of the Bill of Rights. Like much of my other artworks, Speculative Column illustrates an interest in cross-examining decorative symbolism for contradictions in the face of real and present conditions. The artwork is executed in paint on adhesive-backed vinyl and installed in the main entrance to the museum’s architectural interior. The effect for the viewer is similar to Hans Holbein’s 1533 painting ‘The Ambassadors’, where the anamorphic skull snaps into view in extreme perspective. For Speculative Column, however, the correct viewing perspective is impossible to achieve within the museum architecture.]]>

Social in Practice: The Art of Collaboration, Nathan Cummings Foundation

Make Things (Happen) is a participatory project organized by Christine Wong Yap featuring 29 artist-created activity sheets to make things or make things happen. Artists: Lauren F. Adams, Oliver Braid, Maurice Carlin, Kevin B. Chen, Torreya Cummings, Helen de Main, double zero, Bean Gilsdorf, Galeria Rusz, Sarrita Hunn, Maria Hupfield, Nick Lally, Justin Langlois, Justin Limoges, Jessica Longmore, Mail Order Brides/M.O.B., Meta Local Collaborative, Roy Meuwissen, Dionis Ortiz, Kristina Paabus, Piero Passacantando, Julie Perini, Risa Puno, Genevieve Quick, Pallavi Sen, Elisabeth Smolarz, Emilio Vavarella, David Gregory Wallace, Lexa Walsh. See Make Things (Happen) at: Social in Practice: The Art of Collaboration Curated by Deb Willis and Hank Willis Thomas March 27–October 2, 2014 Nathan Cummings Foundation 475 Tenth Avenue, 14th floor (between W. 36th & 37th Streets), New York, NY 10018 Opening Reception: Thursday, March 27, 6-8 pm Reservations required; email Mid-October to November 28, 2014 NYU Tisch School of the Arts Department of Photography and Imaging galleries 721 Broadway, 8th Floor (between Washington Place and Waverly Place), New York, NY 10003 Opening Reception: TBA]]>