Brian Kelley Art


Fall 2014















Art All Night DC

This Saturday, September 27, I will be a part of DC’s second annual Art All Night.  I will be DJ’ing the Washington Studio School from 7 – 11 pm, and perhaps also drawing some of the costumed models that will be also at the event (that is, why I have time between records).  More information here and here.

(Interstate) Faculty Shows

It’s that time of year – time for faculty shows!  This year I have work at Anne Arundel Community College (Cade Gallery, Oct. 6 – 30, Reception Oct. 9 6 – 8 pm, Artists’ Talk Oct. 8 at 11 am) , the Washington Studio School (Sept. 26 – Oct. 31), and Northern Virginia Community College (tba).


Lady Skipwythe (green-violet version), reductive etching,  4" x 2," 2013

Lady Skipwythe (green-violet version), reductive etching, 4″ x 2,” 2013

AACC Printmaking Club Show

Reception September 7, 2 – 4 pm.

August 27 – October 12 at Quiet Waters Gallery

I have two etchings and one woodcut in this exhibition.

ANNAPOLIS, MD: Beginning August 27th and running through October 12, 2004, Quiet Waters Gallery, 600 Quiet Waters Park Rd, Annapolis, MD 21403, presents Reflections, Anne Arundel Community College Printmaking Club Show, an exhibition of 47 hand pulled prints by 17 artists who are members of AACC Printmakers Club. Featured media include relief, intaglio, monoprint and lithographic print-making. Hand-pulled prints are unique in that they are multiple originals each hand inked and printed on hand-cranked presses or without a press.
According to AACC Printmakers Club Vice President, Judy Wolgast the exhibition “reflects the infinite methods and their combinations encompassed by printmaking along with diversity of subject matter and styles.” AACC Art Department Chairman Chris Mona says that the work represents “the best prints being pulled in our shop and indeed in our area.”
Featured artists include established professionals as well as AACC Students. Their output highlights traditional printmaking techniques as well as modern innovations.
For instance, Jake Muirhead’s  two etchings Ocean Child and Bay Head expertly demonstrate well established techniques etching and aquatint. However, Muirhead modernizes these by working on repurposed plates, a methodology popularized in the Twentieth Century by Spanish artist Joan Miro. This combined with Muirhead’s spontaneous drawing style impart an “of the minute feel” to centuries’ old disciplines.
Another example of printmaking innovation is exemplified by Brian Kelley trio of nocturnes, featuring reduction applied to both woodcut and etching. Kelley says of his work:
“They are all nocturnes of Colonial Williamsburg, a place that, while very much a bustling 18th/21st century place during the daytime, is a strange, manicured ghost-town in the late evening.  The lighting in these works comes from the electrical lighting in Colonial Williamsburg, often place stealthily along the trunks of old oak trees, rather than on a modern street light.  The etchings in the show are reductive etchings, meaning that I work from the same initial copper plate but selectively wipe the inks to create differences in color on the print.  The woodcut is also a reductive print, a third version of the image (the first version just being a black-and-white print of the keystone block).”
While reduction has been widely applied to relief printmaking since Picasso’s noted pieces, it is unusual and exhilarating to see it applied to etching.
Lithography is also represented in Reflections. Ruth Connell’s “With You” and “Cabernet 7” are crisp, contemporary landscapes, depicting Quiet Waters Park and more recent lakeside view of upstate New York Of these, Connell says:
“The lithograph, “Call of the Woods”, was inspired directly by Quiet Waters Park, portraying a bend in the path suggestive of more adventures to follow.  The very subtle violet and silver ink recalls the delicate scenes of early spring or late winter, when new foliage is not yet erupted, and only the old ghosts of autumn leaves are in the trees.
Cabernet II”, another lithograph, portrays the high vineyards overlooking a beautiful lake in New York State.  The contrast of the blues and violets with the white of the paper highlights the boldness of a bright summer day in the Finger Lakes.  The lithographic crayon technique captures the texture of the vineyard, and the use of a tusche wash unifies the sky with the landscape. Bringing some abstraction to a familiar image, like this vineyard landscape, helps the viewer experience the scene in a fresh way.”
The opening reception for Reflections will be held on September 7 from 2:00 to 4:00 pm at Quiet Waters Gallery.
More information about the exhibition here.




As always, come see some of my work at the Linda Matney Gallery.  Paintings/prints/video available.



Vote for Me?  Read about Brentwood Arts Exchange’s new, democratic, group exhibition.


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