Montgomery Art Association – Exhibition at Strathmore

J. Jordan Bruns – Resident Painter at the Stone Tower at Glen Echo Park and Director of Art Clinic

Judge’s Comments – About the Show

Serving as a juror for an exhibition is one of those roles that manages to be both deeply rewarding and mildly impossible. I tried to count the shows I've been in, curated myself, or juried for an organization such as the incredible Montgomery Art Association, and… well, it’s a lot. I’ve been teaching for 20 years, making representational paintings for 30 years, and creating abstract paintings for 18 years. I’ve had the privilege of interviewing some of the DMV area’s best artists through the Art Clinic Online program, now heading into its fourth year, and I’ve exhibited in and toured some of the world’s best work at the Miami art fairs. And yet, even with all this experience, the responsibility of choosing work never becomes routine. It remains exciting, humbling, and just a bit nerve-wracking every single time.

Before anything else, I want to recognize the people who make a show like this not only possible but seamless. Montgomery Art Association is incredibly fortunate to have dedicated volunteers who bring order, clarity, and—most importantly—a sense of community to every exhibition. I also had the pleasure of meeting the amazing curators and gallery managers here at Strathmore. How fortunate to have some of the best in the business caring for your artwork! They are the unsung heroes whose job is to make us artists look even better. Thank you to all the behind-the-scenes organizers and facilitators.

There’s a phrase that hovers around every juried exhibition: “This show reflects the judge’s opinion.” As unglamorous as it sounds, it’s absolutely true. And like many of you, I know firsthand the stomach-dropping feeling when a piece doesn’t get in. But rejection from one exhibition is never the final word on a piece. I tell my students this all the time: work passed over in one show is often celebrated—with prize money—in another. So if your work isn’t on the walls today, please don’t treat this as a verdict. It might simply not have aligned with this particular juror on this particular day.

For those of you selected—congratulations. Your work made me pause, think, smile, laugh in some cases, and most importantly, feel something. I also want to say that I didn’t finalize my placeholders until I saw the exhibit in person. And yes—this makes a huge difference. Sometimes bigger work is better (and this show has some big pieces!). But sometimes the underdog proves victorious. I think there are more than a few underdogs being represented at Strathmore today.

So, without further ado, here are the judging principles that consistently shape my decisions:

First: art must never feel inert—it needs ideas. It doesn’t need to shout, but it should have presence: a pulse, a curiosity, a sense of life that hooks the viewer. Technical mastery alone doesn’t guarantee that. In fact, sometimes too much polish can flatten the spark. I want to see process when possible, even if it’s pencil lines peeking through the paint.

Second: …but craft does matter. Give your ideas a chance to stand tall—a platform of skill and technique so the ideas can be heard. Ideas need the right technical tools. Whether your concept is subtle or ambitious, the materials and techniques should support it.

Third: anything but boring! Art should make someone—anyone—feel something. You didn’t create your work with me in mind, nor should you. The most powerful thing an artist can do is make work that’s honest to their own experience. When art is personal, it has a strange and wonderful way of connecting with someone else—occasionally even the person jurying the show.

I did my best to give every submission the time and attention it deserved. This is a great show, and everyone at MAA should be proud of the artists you stand and work alongside. The quality of the work made the process anything but simple. Montgomery Art Association artists bring tremendous heart, skill, and imagination to what they do, and it was evident in every single submission.

Thank you for trusting me with this role. Exhibitions like this remind me why I continue to step into the juror’s seat, even when I know it will keep me up at night. The creativity and commitment within this community are truly inspiring, and it was an honor to help shape this show.

Best in Show –

Julienne Clevenger — Old Post Office 2

Awards of Excellence - (listed in no particular order)

Teresa Oaxaca — Mantegna Blue

Zeinat Gelli— Forget Me Knott II

Elsie Heyman Klumpner — Now Wagging Not Only

Honorable Mentions - (listed in no particular order)

Robert Cantor — Living Large

Yvonne Levine — Floral Drift

Antonia Tiu — Grandeur Clock Bern Switzerland

Stacy Yochum — The Golfers

Willow Frohardt — Death of Dido

How to Smoothly Enter, Exhibit, and Exit MAA Shows

by Jennifer Barlow

Putting on exhibitions for our hundreds of members is a tremendous undertaking—one that requires time, energy, patience, and careful coordination. Our VP of Shows, Kathy Tynan, does an extraordinary job orchestrating 12 full exhibitions each year, managing venues with strict guidelines and artists with a wide range of needs.

To support Kathy, our show managers, and the many volunteers who make these events possible, please take a moment to review and follow MAA’s best practices for entering, exhibiting, and exiting a show.

1. Read the Prospectus Carefully

Before entering, read the prospectus thoroughly and follow all instructions. If something seems unclear or doesn’t align with your plans, please reach out to the show manager before registration closes.

2. Bring Only Show-Ready Artwork

Artwork must be complete, fully dry, and either framed or have finished edges. All pieces must be properly wired and ready to hang.

3. Frame Your Work Correctly

MAA requires D-ring hooks and wires only—no sawtooth hangers. This ensures consistency and prevents damage. (Click here for framing guidelines.)

4. Deliver and Pick Up on Time

We understand exact timing can be difficult, which is why drop-off and pick-up windows span a range. Please respect our volunteers’ time by arriving within that window.
If you’re unable to come, ask a friend or post in the MAA Facebook Group for help.
Unclaimed artwork often ends up stored in board members’ homes for months as they try to reach artists—something we all want to avoid. Please help keep this process smooth and fair.

5. Follow the Digital Naming Convention

Each prospectus includes a required naming structure for your artwork files. This is essential for keeping hundreds of entries organized and ensuring our marketing team can correctly credit you in promotional materials.

6. Label the Back of Your Artwork

Before drop-off, place a label on the back with:
your full name, title, price, and contact information.
This helps us track your work, attribute sales correctly, and ensure it returns safely to you.

7. Choose Your Entries Thoughtfully

When deciding what to submit, please consider:

• Enter recent work

• If created in a workshop or class, please note that

These guidelines aren’t meant to be restrictive—they’re here to help our incredible volunteers showcase your artwork efficiently and professionally. In outside, public shows, failure to follow these practices often leads to rejected entries. While we do everything we can to be accommodating, adhering to these guidelines ensures your work can be displayed without issue.

By working together and following these simple steps, we can ensure every exhibition runs smoothly and continues to reflect the high standards of MAA. Thank you for helping make our shows a success!

As 2025 draws to a close, it’s clear that while the year has been a wild ride, one constant has stood out: the remarkable creativity within our MAA community. You’ve drawn, painted, and sculpted in your studios, outside in the city or nature, and everywhere inspiration struck. What you’ve brought to life is nothing short of extraordinary.

Your artwork continues to add joy to the world, lifting spirits and offering a welcome counterbalance to the volatility of modern life. Creativity is a profound gift… one that nourishes the artist and enriches everyone fortunate enough to experience it.

This year also brought new Board members, new volunteers, and new venues where you’ve had the chance to share your work all while keeping our long-standing Board members and partners active and engaged. We’re deeply grateful for those continuing relationships and equally grateful for the new faces who jumped in and strengthened our community. Each of you contributes to MAA’s ongoing success.

So much heart and effort goes into every MAA offering.  Art shows, figure drawing sessions, plein air events, demos, blog posts, and field trips. Behind the scenes, there’s planning, logistics, tech support, financial oversight, communications, marketing, setup, and takedown, and of course, refreshments. Thank you to every person who shared their time, expertise, and enthusiasm throughout 2025. Your dedication is what keeps this organization thriving.

As we look toward 2026, we’re excited to offer even more opportunities for local artists to refine their techniques, explore new skills, and stay connected to a community that values and celebrates the arts; not only for what we create, but for the impact our creativity brings to the world.

Wishing each of you a joyful, creative, and inspiring 2026

With gratitude and excitement
Sylvia Douglin, MAA President

MAA Survey Snapshot & A Call to Join In

Hello members — and thank you to everyone who took time to complete our September survey. Your input helps us understand how MAA can best support you and how we can continue elevating local art in our broader community.

As the Board digs through the responses, two themes really stood out:

1. Why you joined MAA
Besides participating in shows (the clear #1), members highlighted:
• Connecting with fellow artists
• Learning, improving, and growing creatively

2. What you enjoy most
The top three activities were:

1.    Exhibit receptions

2.    Art demonstrations

3.    VOLUNTEER ROLES

Taken together, the message is clear: being part of the MAA community — not just making art, but making connections — is what keeps our association strong and vibrant. We’re using your feedback to shape more targeted programs, events, and opportunities that reflect what you value most.

And here’s where you come in.

For our community to truly thrive, we need more hands, more voices, and more energy. Whether it’s tech help, hospitality, show setup, communications, or simply sharing your time and enthusiasm, even a few hours a month makes a real difference. You’ll meet new people, learn new things, and help MAA grow in ways that benefit everyone.

At the end of each newsletter, you’ll find our current volunteer opportunities. Take a look. Sign up for something that sparks your interest. You might be surprised where it leads.

THE ARTIST'S GUIDE TO SPOTTING AND AVOIDING COMMON SCAMS

by Jennifer Kahn Barlow with input from MAA Board Members

MAA Artists, we want you to be informed and caution when it comes to online scams.  Unfortunately, scams targeting artists have become more frequent and sophisticated.  It is disheartening to see scammers exploiting innocent artists who only wish to share their art with the world. Presenting one’s creation takes immense courage and confidence, and when someone shows interest in purchasing their work, it brings immense joy and satisfaction.

With this in mind, let’s educate and empower you to identify scams and take appropriate action. Here are five common types of art scams to watch out for:

1. THE “TOO GOOD TO BE TRUE” BUYER

An individual approaches you with an urgent need to purchase your art but doesn’t specify which artwork they’re interested in. This is often a red flag.

Indicators:

• Vague praise
• Urgency
• Bulk purchase offers
• Requests for payment only via check, money order, or through a shipping agent

Scam Goal:

The scammer sends a counterfeit check for an excessive amount and then requests a refund. Artists may refund the money before realizing the check is fake and ship the artwork to the scammer, losing both money and art.

How to Protect Yourself:

• Use verified payment methods (PayPal Invoice, Square, Stripe, Venmo Business).
• Do not refund overpayments or transfer funds to third parties.
• Do not respond, note the scam and delete.

2. FAKE GALLERIES, ART FAIRS, OR CONTESTS

Artists may receive contact from a “gallery” expressing admiration for their work and claiming to have interested collectors. Scammers exploit this fantasy, offering “representation” or “exposure” services and then requesting a fee.

Indicators:

• Flattering messages
• Promises of exposure
• Requests for fees upfront

Scam Goal:

You pay for their services without any tangible results. Real galleries make money through sales, not artist fees.

How to Protect Yourself:

• Conduct thorough research on the organization (Google is an invaluable resource).
• Request contracts and contact artists who have worked with the organization.
• Do not respond, note the scam and delete.
  

3. ENGAGE AND EARN TRUST

You receive a random email or direct message asking about locating artwork or a specific artist.

Indicators:

• Unsolicited messages
• Requests for personal information

Scam Goal:

The scammer engages you in conversation to build trust, eventually requesting payment.

How to Protect Yourself:

• Be cautious with unsolicited messages.
• Avoid sharing personal or financial information.
• Do not respond, note the scam and delete.
  

4. SEND INVOICES FOR PRODUCTS OR SERVICES

You receive an invoice for a product or service you did not purchase.

Indicators:

• Unexpected invoices
• Requests for sensitive information

Scam Goal:

When you contact them, they may ask for your credit card information or for you to click a link, which could result in your computer being hacked.

How to Protect Yourself:

• Double-check any invoices you receive.
• Do not provide personal information unless you verify the source.
• Do not respond, note the scam and delete.
  

5. THE FAKE GIFT CARD

Remember this one that was sent out in August 2025, right before “Paint The Town?”
A trusted person emails you requesting immediate assistance (in this case our awesome President, Sylvia Douglin) and asks for gift cards, promising reimbursement.

Indicators:

• Urgent requests from a known contact
• Requests for gift cards

Scam Goal:

They want you to purchase and send the gift card codes so they can drain the funds. They impersonate a trusted person to manipulate you into providing money that is difficult to trace and recover.

How to Protect Yourself:

• Verify the request by contacting the person through a separate method.
• Be skeptical of urgent requests for gift cards.
• Remember, MAA will never ask for gift cards.
• Do not respond, note the scam and delete.
  

Congrats to all Paint the Town participants! Paint the Town is open 10-5 Monday, 9/1. We look forward to welcoming you!

Preview Paint the Town award winners here.

www.montgomeryart.org/laborday

Participate in Paint the Town’s Plein Air Competition!

Learn more about the painting “en plein air” from MAA’s Plein Air Committee Co-Chairs, Lynn Lewis and Patti Connell, interviewed by Teresa Sites, MAA Communications VP.

What does it mean to paint en plein air?

For me, painting en plein air means that I try to catch a moment in time, or a series of moments, on my canvas. The sparkles of light and shapes of shadows will change over a morning, so as I see them, I pick the ones that work for my painting. At the beginning, I’m true to what I see. After a few hours, I pick and choose what will help the design. The whole process, choosing the gear which is best for me, finding the right frame of mind, and trying to overcome obstacles, enduring…is like a sport. -Lynn

Painting en plein air is the process of selecting a suitable location, bringing your own gear, and painting outside. You may choose a city street or a field, the patio of a favorite restaurant, anywhere you find a desirable view that you would like to paint.  You will find you will be hyper aware of the weather conditions and the movement of the sun as the day progresses. These environmental conditions are an integral part of the challenge of painting en plein air. -Patti

Why should I participate in Paint the Town’s plein air competition?

It’s a fun challenge no matter how experienced or new to painting you may be. Simply ask yourself, what would I love to paint in Kensington (Broad vista, tiny details, people, architecture, charm of town, bustling farmers market, diners…)? Then give it a try. We have opened the time frame, so you don’t need to feel rushed. Starting Friday evening you could try a nocturne or wake up early Saturday for a sunrise. If something doesn’t work, just get another surface stamped and try again. We will have models by a shady fountain midday on Saturday if you wish to paint them. -Lynn

The Paint the Town event is an opportunity to get out there and paint and to show your work and see others work as well. -Patti

How do MAA plein air events work?

Every month, we gather with new and old friends to paint and chat about painting for a few hours. We pick a site that won’t be difficult to access, and which is full of interesting painting options. Just arrive with your painting gear and jump in. It’s a delight to paint around supportive folks and so fun to compare experiences afterwards. -Lynn

MAA plein air events give the artist an opportunity to paint en plein air with other artists.  You will be amongst artists of all levels of experience. We generally meet at a location early in the morning to get the best light and temperatures. Everyone wanders around to find a location that speaks to them and proceeds to set up and spend several hours painting. 3-4 hours is usually enough time for most to complete and there are those who would like to gather and share their work.  -Patti

What do I need to bring?

Bring whatever you need to make your art on a 2D stamped surface. This could simply be your sketchbook and a pen, or paper and watercolors, or canvas and paints. Always bring whatever you need to take care of yourself as well. Don’t forget water and maybe bug spray, sunscreen, a hat. You might want a frame or a matt if you wish to exhibit and offer your piece for sale afterwards.  -Lynn

You can work in any medium that you are comfortable working in, and that you can carry to your spot.  Plein Air artists love to conveniently paint out of the back of their car, but that is not always possible.  Bring your medium, brushes, paper or canvas, a tripod and easel, snack, water, bug spray and sun block.  some bring a folding chair but everything is minimally packed up for ease of carrying. -Patti

Do I need any prior experience or knowledge?

You need no prior experience with plein air events to participate. We welcome all! You might find that the more of these you do, the more fun you will have. It can be addictive. There are plein air options throughout the year so if this sparks joy for you, join us for more!

-Lynn

What are good books or resources for learning more about plein air painting?

Great question!

“Alla Prima, Everything I Know about Painting” by Richard Schmid (book is open on my couch right now!)

“Carlson’s Guide to Landscape Painting” by John F. Carlson (I inherited my father’s copy- it’s been in print since 1958 for a reason- superb resource.)

“Landscape Painting Inside and Out” by Kevin Macpherson

(I like his mission to keep it simple.)

Take a class! Yellow Barn offers fabulous and reasonable options. Walt Bartman inspired me to paint plein air 40 years ago!

Our own Compass Art Center and Glen Kessler have great classes. Winslow Art Center offers online classes and travel possibilities. Here I recommend Bernie Dellario. -Lynn

I would do a google search and look it up.  There are many classes available on the internet or in person. -Patti

Learn more about MAA's Executive Board, in their own words! We look forward to meeting you and working with you this coming year.

Sylvia Douglin, President

I started creating at age four, and after a 30-year detour in Corporate America, I retired and found my way back—now making one-of-a-kind portraits from recycled cardboard and paper. Nothing in my work is painted or drawn—each element is cut, shaped, and crafted from these materials. Initially, my pieces resembled stylized masks, but over time, I’ve focused on bringing more lifelike features into each portrait, capturing the essence and expression of the human face. Each creation is truly one-of-a-kind and made with love and joy.

Lily Kak, 1st Vice President, Programs

I am a watercolor artist who was born and raised in India. I recently retired from the United States Agency for International Development (USAID); my career has taken me to multiple countries in Africa and Asia.  The vibrant and diverse cultures that I experienced during those travels and the beautiful landscape in my own backyard in Maryland are a deep source of inspiration for my artwork. My watercolors combine a controlled representational style while embracing the unexpected loose characteristics so unique to the watercolor medium.  My recent approach of combining watercolor with collage has expanded my art to the limitless possibilities of mixed media and collage textures.  I am the Vice President of Programs at the Montgomery Art Association and am a Signature Artist of the Baltimore Watercolor Society and of the Potomac Valley Watercolor Society.

Rose McManus Coleman, Secretary

I’m a visual storyteller working at the intersection of photography and painting, where curiosity guides my process and connection shapes my perspective. My work explores how layers—of color, memory, and perception—can shift the way we see ourselves and the world around us. I often reimagine existing pieces, allowing something familiar to become something entirely new. Each image is both a moment and a mirror—an invitation to pause, reflect, and imagine what else might be possible.

Teresa Sites, 3rd Vice President, Communications

I work in a variety of 2d media --drawing, painting and collage-- and also create the occasional cartoon. I love to create work spontaneously and can be found around town urban sketching and painting en plein air. I'm always up for new artistic experiments: in addition to markers, ink, pastel, acrylic, watercolor and gouache mediums, I also use metallic markers, fluorescent medias and various colored paper supports (and don't forget the sparkly paper for collage). I love a good theme, and a recent project I created was a series of 51 sketches inspired by my brother's vacation photos of 50 states and DC called "My Brother's Vacations, My Vicarious Travel Sketchbook." Say hi on Instagram (@teresaelizabethsites) for, as my bio states, "art, coffee, then more art!"

Kathy Tynan, 2nd Vice President, Shows

I dabbled in art in college, but life moved me in other directions. It wasn’t until I stepped away from my career in finance that I finally had the space—and the stillness—to return to what had quietly called me for years.  My art begins in moments that stir my heart, often before I can explain why. I’m especially drawn to landscapes that evoke a deep emotional response. My process is intuitive and personal; it starts with a feeling, a quiet sense that this is a place that touches my soul.  Pastel as a medium feels delicate and responsive, capable of expressing subtleties that often go beyond words…the perfect medium for me. It also has a rich, tactile quality that brings me joy. There’s something deeply personal about this direct contact—it grounds me in the moment and draws me into a close, intimate relationship with each piece I create.

Anastasia Walsh, Treasurer

I'm Anastasia Walsh, an artist who favors using unusual materials and methodologies in creation. I've painted on glass, created mosaics on old tools, and used colored paper as brushstrokes in collage. 

A Note from our New MAA President

As I step into the role of President of the Montgomery Art Association on June 1, I want to take a moment to introduce myself and share how honored I am to be part of this vibrant community of artists.

My own artistic journey has been anything but traditional. After a career in corporate training within the hospitality industry, I returned to my creative roots and began exploring a more instinctual form of expression—transforming everyday materials into meaningful works of art. From cardboard portraits to hand-painted denim, my art is grounded in the belief that beauty can be found—and made—from the unexpected.

I’ve had the pleasure of meeting some of you already, and I look forward to getting to know more of you in the months ahead. MAA has a rich history of supporting local artists, and I’m excited to work alongside our talented board and dedicated members to continue offering a strong platform for artists throughout Maryland.

Here’s to new ideas, shared inspiration, and a year filled with creativity!

Warmly,
Sylvia Douglin
President, Montgomery Art Association