Barnes and Noble Bookfair for the Arts!

Buy Books, Support Arts! Buy Music, Support Arts! Buy Cafe Items, Support Arts!

Don’t miss out on our EASY opportunity to support the arts courtesy of Barnes and Noble Booksellers!!! Just come out on today or tomorrow, (October 16th or 17th) and buy your normal book/music/cafe items and offer our name at checkout! Get a cider in the cafe, buy children’s books, DVD’s— all your regular goodies in the name of the arts!! Get an early start on your holiday shopping, bring out your study group and relax in the Barnes and Noble Cafe! The Museum Staff will be on hand with plenty of fun art activities, demonstrations, and MORE. Click here to read on.


Les dames font la fête

Moulin RougeOn Friday the Fayetteville Museum of Art is hosting a party of fun for ladies only.The theme is the Moulin Rouge! So come one, come all, and have a grand old time! Moulin Rouge

French inspired appetizers, absinthe infused cocktails, a DJ playing all your favorites, all for your low ticket price of $35! (Members and Fayetteville Young Professionals get in for $30!) Come dressed as your favorite Moulin Rouge character or come in your night on the town best! Your call! Call 910.485.5121 to reserve your space, or click here to buy online.

The official after party is at Itz Entertainment City! Just bring your admission ticket from Girls Night Out and get you (plus one) in FREE to Itz with a FREE drink to boot!

This is one party you just don’t want to miss!


reflection on stitching, sewing, quilting as art…

September 10th, 2009 7:04 pm by Erica Gilbert

Quilt from ARTSQUILTStransitions exhibitionTomorrow (September 11th) marks yet another fabulous exhibition Premiere Party at the Fayetteville Museum of Art.

Starts at 6pm, lasts until 8pm.

$5 for an open bar, live band (SEQUOYA from Durham), light hors d’oeuvres, a chance to mingle among art lovers, a gallery talk, etcetera etcetera… and oh yeah, if you are a member… WELL YOU CAN JUST KEEP YOUR FIVER. IT IS FREE.

So bring you and yours out. Why? For a fogey quilt party? Read on. You should be convinced by the end of the blog. (at least I hope, or otherwise I wouldn’t be writing the thing!)

A beautiful internationally juried exhibition of contemporary quilts that comment on a variety of relevant societal issues… this exhibition creates a quiet way for you to come out and reflect on the anniversary of September 11th, as it represents many things inherent to our country and its values… comfort, family, cohesiveness, taking a stand on something you believe in, warmth (both physical and psychological). Quilting has a long history from a variety of culturally rich nations serving different purposes— to relate ancestral stories to the next generation, represent and present a specific culture, nation, and so on.

The quilts featured in this exhibition are “art quilts” and are distinguished from other quilts, as they are created with a larger vision and message in mind, though they use some of the same techniques and communicate messages just as traditional quilts might. The intricate images created and displayed through fabric is absolutely stunning, and almost unbelievable. One can only imagine the process, planning, and pricked fingers that went into each and every quilt that is currently hanging on the gallery walls. Initially, quilts may have a negative connotation— seem old fashioned, irrelevant, and perhaps even boring. It is entirely untrue. The quilting world is rich with artists of all ages, all with something interesting to say. Each quilt is drastic in its originality and vision. Some are landscapes. Others wildly abstract with no solid image. Others offer societal commentary (one in particular on terrorism). It is a show teeming with individual revelations. I can promise you will connect with one. Additionally, this exhibition presents a unique opportunity for the gallery viewer to reflect on ‘family’, whether it be from the firm sense your own family gave you, or the one that you created for yourself, or perhaps it will inspire a sense of family by looking at all of the fiercely disparate patches and threads coming together to create a unified image (or in some cases, erratic ones.)

If connecting and examining art isn’t reason enough, come out to the premiere to support Operation Kid Comfort. This organization brings special quilts to children whose parents are deployed defending our country. Please visit their link to read about the joy they are bringing to children across the nation. You can help by bringing quilting items to the Premiere Party in lieu of your $5 entry fee. (A more thorough list is here: http://www.fayettevillemuseumart.org/exhibit.htm). If you are a member, you get in free anyway, but I’m sure Operation Kid Comfort would appreciate your support too!

Do something cultural with your Friday evening. Don’t just do the same dinner out/movie. We’ll have a little gallery talk, with everything wrapped up by 8pm! Just in time to head out on the town (for that dinner and a movie) or home to reflect on everything you just took in. Join us at the Fayetteville Museum of Art for something fresh and fun. (We’re behind Eutaw Shopping Center off of Bragg Boulevard for those unaware.)

AND. If you miss the party, you can still catch the exhibit through November 1. (but you really shouldn’t miss the party, and not just cause I’ll be there!)

Hearts and patches and things,

Erica Gilbert

Office Administrator Extraordinaire


printmaker at Gallery 208, Julie Niskanen

TOMORROW we premiere artist Julie Niskanen at Gallery 208. Join us from 5:30pm to 7pm for a FREE and entertaining look at the world of art. Light hors d’oeuvres provided by Locks Creek, adult beverages courtesy of Up & Coming Weekly, home to Gallery 208. Exquisite detail exists in her art as a result of the nature that inspires. Please join us at 208 Rowan Street, right across from Festival Park.

The world of printmaking is a fascinating one, especially when it is taken to such articulate detail, like upcoming artist Gallery 208 Julie Niskanen. She premieres at Gallery 208 tomorrow, and the Museum is grateful to be showcasing such a talented artist who is not only bringing her art to this community, but her talents as well. Teaching art at FTCC, Niskanen is also hopeful to get a print-making program up and running. We certainly hope she does. Join us at the premiere to have a conversation with this wonderful artist.



click on image to be taken directly to the FAF site with all the information you’ll need!

Where: Festival Park, Downtown Fayetteville, corner of Ray and Rowan St
Time: 5pm, of course!



FIX YOUR CRAVING WITH 5 FOOD VENDORS including Chick Fil A, Reuben’s Concessions, S&S Concessions, Aloha Shaved Ice, and Mr. B’s Hotdogs!


We’ll see you tonight!


all 80's week...

all 80’s week…

in celebration of the forthcoming Fayetteville After Five’s celebration of the 80’s with regional favorites Suicide Blonde I am making my workweek all 80’s by creating a new radio station on my Pandora. (Pandora is WONDERFUL if you working folks haven’t clued in yet.)

80’s music makes me gloriously happy in a way that no other music can. I was raised on Q98– you know, back when Beyonce wasn’t on the radio. I revert back to that gleeful carefree state of being a kid, and as the triumphant dance opening of Madonna’s “Borderline” opens, all my work worries fade away! You should try it! Guaranteed stress free day at work awaits– and all it takes is a little 80’s tunage!

Seriously, though– if not eager to try out 80’s music while at your desk (oh, cutting crew, ms. lauper, and night ranger– how you make every little rotten thing about life seem okay…) at least come out to our FREE concert this Thursday, June 18th at Festival Park and rock out to all the classic hits of the 80’s and rejoice that you finally did throw that Members Only jacket away! Gates open at 5pm– festivities begin at 5:30pm. Bring your friends and fam– enjoy a variety of food vendors, and frosty cold one from Bud Light!

And in the vein of shameful self-revelations– share your favorite outlandish 80’s memory. What horrendous outfit did you wear? What song did you slow dance to at your wedding, thinking that it was *the* best song ever? Or, better yet, what song took you tabletop? What ridiculous geometrical shaped furniture piece did you buy? We wanna hear them! Let’s take a moment to think back to a simpler time– of Reaganomics and the rubik’s cube and, most importantly Duran Duran and Devo!


Gallery 208 Premiere & Exhibition

October Illustrations

June 11th, 2009 11:55 am by Erica Gilbert

Today is the opening reception of the Museum’s annex gallery, Gallery 208. The gallery is housed in the corporate offices of Up & Coming Weekly, which are located at 208 Rowan Street. ( a name that clues into its location sounds like a good idea to me!)

The reception is from 5:30 until 7pm and welcomes artists Shannon Stamey and Mike Ramagno– of course, their art graces the walls.

Stamey is from a little town called Lincolnton, NC, and currently resides right here in Fayetteville, and is very excited for the opportunity to showcase his work. Desiring to be a children’s book illustrator, his works venture from whimsical book illustrations on a large scale to stylized turn-of-the-century ads whose age appears much more than their reality.

This opening reception will feature wonderful hors d’oeuvres from restaurant Lock’s Creek and refreshments and, very importantly, is FREE to the public. For the seasoned gallery crawler, one will delight in the originality of the works, but the person new to gallery openings will find that these works have a mass people that is easily connected with.

Visit the artists website at OctoberIllustrations.com to familiarize yourself with the work. I am sure you will be delighted and taken back to the times of your youth when the simplest things amazed. (which, in these times, is a blessing to be reminded of.)


27 Dresses....

27 Dresses…

Kevin: [motions to a “Gone With the Wind”-style dress] What the hell is that?
Jane: Theme wedding.
Kevin: What was the theme? Humiliation?”

If you’ve not yet heard, Friday marks the 3rd installment of our successful girls only party called Girls Night Out. The theme is aptly based on the recent hit film, 27 Dresses. Apt because, it’s that time of year. The time when love is in the air, and everytime you turn around, you trip on a wedding gown train. Just last weekend I saw three weddings take place around town!! People are getting all gussied up, and celebrating life and love. Well, I’ve only ever been to one wedding in my life. So I’ve not the pleasure of all that fun wrapped up in over-sized white bows. I’m pretty excited for this event, because it will provide the experience without actually requiring me to buy the couple a gift! Bird seed, bubbles, exquisite cake, garter belts, multiple bouquet tosses!!! What more could a girl ask for in fun? Well, how about raffles, delicious drinks, and a “burn it or buy it”auction? Sounds like a party to remember to me!

So, please– R.S.V.P to our Girls Night Out, this Friday, June 5th right here at the Fayetteville Museum of Art! Buy your ticket online today, or call 910-485-5121 to reserve your space on the guest list!!

Get glamoured out in the bridesmaid dress you WISH the bride had picked out for you, or, come dressed in the outlandish outfit she actually DID pick out for you! Either way! We can’t wait!




“Kevin: Are they bridesmaid dresses?
Jane: This is none of your business!
Kevin: Oh… good God. What, you kept them all? You have a whole closetful? Why?
Jane: I have a lot of friends and I like to keep them.
Kevin: [snickering] Right. Well, that makes complete sense because they’re… *beautiful*.
Jane: Some of them are not that bad.
Kevin: Not that bad? I’d like to see one of them that’s not that bad.”
You know you’ve got some dresses that you are ready to part with! Bring them to the next Girls Night Out for a “burn it or buy it” auction where you can finally put those dresses to rest to raise money for charity! Paddles will be on hand as well as a fire pit to watch polyester go up in flames!!

+ = REVENGE!!!!!

Details on the event are here: www.FayettevilleMuseumArt.org/upcoming-events.html!


heinous dresses take center lawn at FMoA event...

heinous dresses take center lawn at FMoA event…

JUNE 5th.


Come enjoy the glorious heinousness that being a bridesmaid can entail.

Take pictures. Celebrate. Drink. Catch a bouquet for a bride that doesn’t exist.

AND. Get ready by visiting this website: UGLY DRESS.

Get your ticket here.

The burn it our buy it auction will ensue. For those of you not wishing to don your atrocities again, come dressed for a nice summer wedding.


Our inspiration is you, Ms. 27 Dresses herself.


Heading Home

As you’re heading home today, joyfully taking off those work gloves, you’ll realize just how absolutely spectacular it is outside. Then you’ll realize that tomorrow it will be equally as spectacular outside, with an added bonus– A FREE OUTDOOR CONCERT SERIES RIGHT IN DOWNTOWN’s PLAYGROUND– FESTIVAL PARK!

Yes, that’s right. Tomorrow is the first Fayetteville After Five of the season, featuring beach music favorites Chairmen of the Board serving a heaping spoonful of their classic and fun-filled jams. So come out to the Festival Park lawn, enjoy a cold one from Harris Wholesale, and relax with family and friends.

Gates open at 5pm, concert starts around 6pm! Did I mention that it’s free?

(for more information about the concert series, visit: www.fayettevillemuseumart.org!)



The Warhol Muse

Andy Warhol was an inspiring, exciting, and interesting fella. As such, he attracted a group of similar people. Eccentric and fabulous, the whole world was enamored with not only him, but his group of “superstars”, as they came to be known. One of these girls was Edie Sedgwick, whose fashion legacy lives on today. (”Factory Girl” the recent movie starring Sienna Miller, is tantamount to her prevalence in society, even now, and the onslaught of similar styled clothing in retail chains such as Forever 21 and Urban Outfitters.)

I thought it worthwhile to explore the history of this beautiful & tragic woman whose life fascinated so many, especially as tomorrow is our “Girls Night Out” party, the final big party celebration of our Andy Warhol exhibit! Marie Claire did a wonderful article on Ms. Sedgwick, chronicling her ups and downs. Here the article is in its entirety, for your reading pleasure:

Style icon Edie Sedgwick inspired the likes of Andy Warhol and Bob Dylan and left behind a fashion legacy that still lives on today. Camilla Morton charts the all-too-brief life of a swinging ’60s It girl and true individual.

Sienna Miller as Edie Sedgwick.

New York, 1965: a gamine bottle blonde walks through the crowd of hip young things. With her thick, black kohl eyeliner, bouffant hair and antique chandelier earrings dripping priceless jewels, she emanates style. No-one has ever seen anything quite like this young woman, who wears nothing more than a leotard, opaque tights and a sweater.

Men and women stare at her with open admiration - the women making mental notes to try out her look at home. She is the epitome of the swinging ’60s scene and one of the architects of the beatnik style. Part muse, part model, sometime actress and wild society girl, she is Edie Sedgwick - and in her short life, she will become a legend …

Sedgwick would go on to inspire the likes of Andy Warhol and Bob Dylan, but in a life that lasted just 28 years, she also suffered from an eating disorder, squandered her inheritance, and battled drug addiction and mental illness. Yet her influence continues today - from the Christian Dior catwalk show dedicated to her look to the film Factory Girl, featuring Sedgwick’s latest style apprentice, Sienna Miller, it seems the legacy of one of America’s first It girls will live on for years to come.

In many ways, Sedgwick never had a chance at a stable life. She was born Edith Minturn Sedgwick on April 20, 1943, in Santa Barbara, California. Her father, Francis Minturn Sedgwick, was a rancher and sculptor who had three nervous breakdowns prior to his marriage to Alice Delano de Forest, an heiress. His psychiatrists advised the couple not to have children because of Francis’s manic-depressive psychosis. They had eight: Alice (Saucie), Robert Minturn (Bobby), Pamela, Francis Minturn Jr (Minty), Jonathan, Katherine (Kate), Edie and Susanna (Suky).

Although the Sedgwicks appeared to lead an idyllic life on their various Californian ranches, appearances were deceptive. “We were dressed in hand-me-downs from our cousins, and we got very little for Christmas or birthdays,” Saucie later recalled. And Francis was an oppressive and tyrannical father. “He was always trying to sleep with me, from the age of about seven,” Edie once claimed.

The young girl had very little exposure to “normality”. She and her siblings attended their own tiny school, and rarely left the ranch. Their bizarre home life soon took its toll. An alcoholic by the age of 15, Minty was admitted to a psychiatric hospital in his 20s after he was found in New York’s Central Park making a speech from a statue - to a nonexistent audience. He hanged himself the day before his 26th birthday. Bobby, too, had inherited the family predisposition to mental illness, and was escorted from his Harvard University dorm in a straightjacket. After several stints in mental institutions, he died in January 1965, when he crashed his Harley-Davidson motorcycle into the side of a bus on New Year’s Eve.

Edie developed an eating disorder at an early age. Her problems only intensified when she stumbled upon her father and another woman “humping away”. Francis accused his daughter of lying and had her put on tranquillisers. Consequently, the teenager became addicted and withdrew into herself. Francis gave Alice an ultimatum: put Edie in a psychiatric hospital or he would leave. His daughter was sent to Silver Hill Hospital in 1962.

Her weight plummeted to 41 kilograms, so she was moved to a closed ward. Treatment helped, but there was more trauma to come when she was on leave from the institution. She later revealed: “I met a young man from Harvard … That was the first time I ever made love.” Sedgwick fell pregnant, and was persuaded by her doctors to have an abortion. “It kind of screwed up my head,” she said.

Following her release from hospital in the autumn of 1963, Sedgwick moved to Cambridge, Massachusetts, where she studied art at Harvard. Surrounded by men such as dandified graduate Chuck Wein, she quickly established herself on the social circuit and became the doyenne of the gay scene. In 1964, she turned 21 and came into a trust fund. Life was finally looking brighter.

With the help of Wein, Sedgwick moved to New York, where he planned to promote her in the ’60s art scene. “He knew that she had this quality, but that she was very disorganised and wouldn’t be able to pull it off by herself,” said friend Sandy Kirkland.

The city offered the distractions that Sedgwick craved. Part of her unique appeal lay in her ease at moving between different social groups, and soon after her arrival in New York, she attended a party held by producer Lester Persky, where a friend introduced her to artist Andy Warhol. “Why don’t we do some things together?” he asked her. Sedgwick was about to hit the big time.

Warhol was one of New York’s leading lights and became famous for his iconic pop art. In his studio, known as The Factory, he gathered together like-minded artists to create underground films, music and art. He was captivated by Sedgwick’s old-money heritage and artistic energy, and she was soon admitted into Warhol’s inner circle.

Sedgwick’s unique fashion sense flowered in the rebellious avant-garde atmosphere. She would wear her grandmother’s jewels with a long dress and bare feet. Opaque tights, leotards, false eyelashes and chandelier earrings became her signature pieces.

Punk-rock legend Patti Smith recalls her reaction to seeing a magazine photograph of Sedgwick, clad in a black leotard and a boat-neck sweater. “She was such a strong image that I thought, ‘That’s it.’ It represented everything to me, radiating intelligence, speed, being connected with the moment.”

Celebrity milliner Stephen Jones identified something radical in Sedgwick’s demeanour: “Iconic society women had always been demure and elegant. Sedgwick was downtown not uptown, active not passive, sunglasses not ball gowns. Her look was a mixture of sweet and sour; an angelic face distorted with bleached hair and disfiguring make-up. You could call her the first punk.” In contrast, the rumour that she never took off her make-up, instead adding a new layer every day, suggests a fragility underlying her bold image. In 1965, Warhol cast Sedgwick as an extra in his underground film Vinyl. Besotted with her striking looks as much as her screen presence, he commissioned further scripts for her - Kitchen, Poor Little Rich Girl, Beauty #2, Outer And Inner Space - establishing her as his “Queen of The Factory”. For the next year, the pair, dressed in matching striped jumpers, were inseparable. Sedgwick even dyed her hair silver to match Warhol’s.

Ultimately, her intense but platonic relationship with Warhol was short-lived. By 1966, Sedgwick’s fashion sense had been picked up by the mainstream. She modelled for Vogue, who described her as “white-haired with anthracite-black eyes and legs to swoon over”. She also became designer Betsey Johnson’s first fitting model. “She was very boyish; in fact, she was the very beginning of the whole unisex trip,” said Johnson.

Sedgwick had also met and become infatuated with Bob Dylan, despite starting an affair with his right-hand man, Bobby Neuwirth. “Somebody who knew Sedgwick said, ‘You have got to meet this terrific girl,’” recalled Neuwirth. “Dylan called her, and she chartered a limousine and came to see us.”

At the time, Dylan was living in the Chelsea Hotel with his future wife, Sara Lownds, and her three-year-old child from a previous relationship. He was also having an affair with folk singer Joan Baez, who only ended it when she discovered him in bed with Lownds - whom he’d neglected to mention.

Sedgwick was flattered by Dylan’s interest in her (a picture of her appears on the album sleeve artwork of his 1966 Blonde On Blonde album, and it’s said that two songs on it - “Leopard-Skin Pill-Box Hat” and “Just Like A Woman” - were inspired by her). But the young socialite was devastated when, in February 1966, Warhol bitchily informed her that Dylan had secretly married Lownds the previous November. Crushed, Sedgwick announced that she was leaving The Factory.

By this point, she had spent her entire trust fund and was broke, alienated from the Factory crowd, and increasingly dependent on speed and heroin. Vogue refused to endorse a model identified with the drug scene, and having accidentally burnt down her Manhattan apartment, she moved in to the Chelsea Hotel.

The glamorous world Sedgwick had dominated had evaporated. At Christmas, she sought refuge at home, and her brother Jonathan described her as “a painted doll, wobbly, languishing around on chairs, trying to look like a vamp”. A lifeline was offered in 1967, when Chuck Wein cast her in the film Ciao! Manhattan, but the prevalence of drugs on set only hastened her descent into mental illness. She went AWOL from the movie before finishing it. Finally, the long-suffering Neuwirth could take no more, and left her. Sedgwick was devastated. “I felt so empty and lost that I would start popping pills,” she said.

At the same time, Sedgwick’s father became seriously ill. Before he died of pancreatic cancer in October 1967, he appeared to show some remorse for his parental shortcomings, saying, “My children all believe that their difficulties stem from me. And I agree. I think they do.” Friends hoped that Francis’s death would relieve Sedgwick of some of the burdens she had been carrying since childhood, but instead, it seemed to weigh her down further.

Slipping in and out of hospital, Sedgwick was spiraling out of control. In 1968, the New York Post asked: “Whatever happened to Edie Sedgwick?” Warhol was quoted as saying, “I don’t know where she is. We were never that close.” By 1969, she had been arrested for drug possession and was admitted to a psychiatric unit. There, she found support in fellow drug addict Michael Post and, under the supervision of two nurses, even managed to complete the filming of Ciao! Manhattan, including several sequences where her character receives electric shock treatments. Over the next two years, she would undergo more than 20 shock treatments in real life - at the same clinic used in the movie.

By 1971, it appeared that Sedgwick had begun to turn her life around. She married Post in July of that year, stopped drinking and worked hard to limit herself to drugs for pain relief. On the night of November 15, she was filmed at a fashion show at Santa Barbara Museum, looking fit and healthy. That evening, a palm reader grabbed her hand and was shocked by her short lifeline. Sedgwick calmly replied, “It’s OK, I know.”

But she couldn’t have known how quickly the end would come. At a party after the show, a guest verbally attacked her, calling her a heroin addict. Sedgwick became hysterical, so Post took her home. She took her prescribed medication and fell asleep.

The following morning, Sedgwick was dead. She was 28 years old. The coroner registered her death as an accident/suicide due to barbiturate overdose.

Sedgwick and Warhol were never reconciled. On hearing of her death, he wondered out loud if her husband of a few months would “get her money”. He was curtly told by a friend, “Edie didn’t have any money. She spent it all on you.”

But neither Warhol nor Sedgwick could ever have predicted the influence her unique style would continue to have, from Kate Moss’s pixie haircut in 2001 to John Galliano’s 2005 show for Christian Dior. In the end, Sedgwick’s lasting legacy is her individuality, not her unhappy private life.

“Edie danced to her own tune, and I imagine this is what inspired Warhol and Dylan as much as it did me,” said Galliano. “She created her own identity … She may only have had 15 minutes of fame, but her style and image influenced a whole generation.”

She is my inspiration for the evening, as I will be wearing the black tights she made so popular, the always classic boat-necked striped t-shirt, and chandelier earrings. You should come out too— dressed in your best 60’s and 70’s outfit! Click for more information on the event– we can’t wait to see you there! We will rock out to the music of the times, and have games, drinks, and food to boot!


FYI: on Andy Warhol

the fmoa spent countless hours putting this exhibit together.

we thought we might share a few little fyi’s about the exhibit:

  1. 4800 soup cans were used in the sculpture displays throughout the exhibit.
  2. those cans were donated by campbell’s soup.
  3. we are donating those cans to fayetteville’s urban ministries, post exhibit.
  4. the exhibit features many of warhol’s later works from american indian series. most works showcased were created from 1978-1981. some of these works have a more serious view of society than earlier works.
  5. it took 3 five gallon drums of paint, 4 paint extension rods, and 5 staff to cover the exhibition space “walls”.
  6. the large self-portrait hanging in the gallery space was created by fayetteville’s own shani gates. it is 8 feet by 8 feet– a larger than life warhol for your own viewing pleasure!
  7. it took over 20 spotlights to light the gallery space and store.
  8. over 1,500 warhol items are for sale in the warhol store.
  9. 15,000 gallery guides were printed with information about warhol’s life.
  10. school groups will have the chance to visit the exhibit for free monday through friday from 9am until noon! over 300 cumberland county school children will see the exhibit free this week!
  11. over 31 feet of banners were used to list our sponsors and advertise for our exhibit! thanks, FastSigns!
  12. 24 hour security was required for our exhibit. Our security team has put in over 96 hours thus far with 96 to go!

we hope you’ll come out to the exhibit! remaining days are today from 12-7pm, tomorrow from 12-7pm, and thursday from 12-7pm. saturday we are open from 10am to 5pm. entrance is $5.00 for adults, $3 for children, and free for children 5 and under. we also have our girls night out party on Friday at 7pm. All the details are on the website: fayettevillemuseumart.org/warhol.htm.

Girls Night Out Invite

come get warholed! each of our warhol patrons gets a FREE “i saw warhol” sticker!


andy warhol is a huge hit!

This weekend we saw over 1,000 folks for the opening of Andy Warhol exhibit!

We heard lots of fantastic things about the exhibit! I thought I would share some of the good words…

“This exhibit is better than a MOMA exhibit at a fraction of the cost!”

“Your educational tours are better than those provided by Nasher!”

“I had no idea of the variety of work that Warhol did– thanks for showcasing some of his later works!”

“The incorporation of the can sculptures is a great way to expand your perception of Warhol’s work! Well done! We love it!”

“I never thought I’d get the opportunity to see Warhol in Fayetteville for five dollars! Let alone right in the middle of the Dogwood Festival!”

“Wow, we can’t believe all the great hands on art activities for children for FREE.”

“We get to take these warhol art activities HOME, for FREE?”

“This is the only reason I even came to the Dogwood Festival! Warhol, here, in Fayetteville!”

Thanks for all the kind words, folks! We all worked very hard as a staff to bring this exhibit together, and we are grateful that it pleases the community so!



  • MONDAY, APRIL 27th: 12-5pm, 5-7pm EXHIBIT (5-7pm exhibit open free of charge)
  • TUESDAY, APRIL 28th: 9am to NOON, 12-7pm EXHIBIT (9-12 open to tour groups, 12-7pm general public)
  • WEDNESDAY, APRIL 29th: 9am to NOON, 12-7pm EXHIBIT (9-12 open to tour groups, 12-7pm general public)
  • THURSDAY, APRIL 30th: 9am to NOON, 12-7pm EXHIBIT (9-12 open to tour groups, 12-7pm general public)
  • FRIDAY, MAY 1st: (9-12 open to tour groups) 7pm GIRLS NIGHT OUT $35 per person
  • SATURDAY, May 2nd: 10am to 5pm EXHIBIT (final day)

So make sure you come on out and see Andy Warhol! Coming soon on the website will be pictures from the exhibit! Perhaps you’ll even see yourself!Also, don’t forget to get your ticket to this Friday’s Warhol Girls Night Out! You can purchase your ticket and read on about the event if you click the image below!

Girls Night Out Invite


Fashion & the 20s

So, you’re planning on attending our party Saturday night, right? Well, you might be wondering what to wear. Well, a regular party dress is ABSOLUTELY acceptable. However, if you are more adventurous and want to capture a feel for the period, read on to see how best to dress! We can’t wait to see what great outfit you came up with it. Don’t forget– you can purchase your tickets online here: http://www.fayettevillemuseumart.org/upcoming-events.html!

Fashion has always been influenced by the mode of transportation, the architecture of the period, and the customs of the people, and so it was in the 1920’s. In line with progress in other areas, clothing developed closer relationships with art, and an increased sense of freedom was expressed in simple yet elegant designs, with carefully selected fabrics, and an intelligent use of color.

Beautiful coordinated and accessorized outfits were a feature of 1920’s ladies fashions. Hats, shoes, stockings, handbags, dresses and jewelry all came together in harmony to create a unique and elegant style that can only be appreciated when seen in real-life or in color illustrations. The vibrancy is lost in black and white photographs.

Womens fashions experienced dramatic changes in the early 1920’s following the end of the first world war in a period often referred to as the “roaring 20’s”. The passing of bustles and corsets gave clothing designers much greater freedom of expression. New and colorful fabrics echoed the joy felt by a war weary population following the end of hostilities.

1920’s Dresses were lighter and brighter and shorter than ever before. Fashion designers played with fabric colors, textures and patterns to create totally new styles of dress. Hemlines rose for most of the decade but dropped slightly toward the end. Shoes and stockings assumed a greater prominence now that they were more visible. Silk stockings in all the colors of the rainbow, often with patterns, were designed to match the coordinated outfits of stylish women.

1927 COUPLE IN WINTER CLOTHESCorrespondence schools flourished in the inter-war period. Dressmaking and millinery courses in particular were embraced by women who wanted the new fashions but couldn’t afford retail prices. Many women turned to fashion as a vocation in order to support their fatherless families or to earn extra income to spend on the new luxuries. Working women also embraced the relatively inexpensive ready-made clothes as mass production of contemporary clothing became common.

Pantsuits, hats and canes gave women a sleek look without frills and avoiding the fickleness of fashion. The style was named after the novel La garçonne by Victor Margueritte. In Europe, this look featured women with short hair (Bubikopf) for the first time; in the U.S., “the bob” was reintroduced by actress Louise Brooks in the late 1920s. The hairstyles of Hollywood stars were copied by women all over the world and womens magazines carried articles on how to achieve the current look.

Women’s underwear changed as a result of this move towards practical clothing, with corsets becoming smaller and more flexible, and bras being introduced. Flappers, as the trendy young women were called in the U.S., wore short dresses with a straight loose silhouette. By 1927 seams had risen to just below the knee, so that part of the knee could be seen when dancing the Charleston.

Thus, the Roaring Twenties redefined womanhood — a new woman evolved; it was more acceptable to smoke and drink in public, closer body contact in dancing, shorter hair, make-up, different styles of dress, and greater participation in the workforce - all contributed to the new woman.


Musics & the 20's

Join us this Saturday, at 8pm to revel in era of the 20s while also enjoying the FINAL FOUR GAME ON A BIG SCREEN TV (we’re talking wall size screen here)! We can celebrate the past while also acknowledging the importance of a TAR HEEL game! Get your tickets here! It’s going to be a party you won’t want to miss!

Now, boys and girls, it is time for a little information about the era we are celebrating! Music is important now matter the year… read on about what pleased the ears of those living the high life in the 20’s.

The Jazz Age

The first commercial radio station in the United States, KDKA began broadcasting in Pittsburgh in 1922. Radio stations subsequently proliferated at a remarkable rate, and with them spread the popularity of jazz. Jazz became associated with all things modern, sophisticated, and also decadent. Louis Armstrong marked the time with improvisations and endless variations on a single melody. Armstrong contributed largely to making scat singing popular, an improvisational vocal technique in which nonsensical syllables are sung or otherwise vocalized, often as part of a call-and-response interaction with other musicians onstage. Apart from the clarinet, Sidney Bechet also popularized the saxophone. Dance venues increased the demand for professional musicians and jazz adopted the 4/4 beat of dance music. Tap dancers entertained people in vaudeville theaters, out in the streets or accompanying bands. At the end of the Roaring Twenties, Duke Ellington entered the scene to start the beginning of the big band era.

Related Topics:
Radio station - KDKA - Pittsburgh - Jazz - Louis Armstrong - Scat singing - Syllable - Musician - Clarinet - Sidney Bechet - Saxophone - Tap dancers - Duke Ellington - Big band


Art & Cinema of the 1920's

As I said, I am going to provide tidbits of information about the 1920’s for the remainder of this week in conjunction with our Roaring 20’s party this Saturday, April 4th, at 8pm. (Come out, we’re gonna get the game on a big screen) Here is a little information about the artistic nature of the 20’s, as well as what it was like to trot on down to the cinema.

Expressionism and Surrealism

Painting in North America during the 1920s developed into a different direction than that in Europe. In Europe, the 1920s were the era of expressionism and later, surrealism. As Man Ray stated in 1920 after the publication of a unique issue of New York Dada: “Dada cannot live in New York”.

Related Topics:
Painting - Expressionism - Surrealism - Man Ray - New York Dada

~ ~ ~ ~ ~ ~ ~ ~ ~ ~


The bulk of the 1920s cinema was silent. Late in the decade, early—and eventually, more advanced—sound recording technology was developed, leading into the age of what was known at the time as talkies. The first talking movie, Don Juan was made in 1926, also in that same yearmovies with Technicolor had arrived. Walt Disney produced his first cartoon during the Roaring Twenties. Al Jolson’s follow-up film to The Jazz Singer, The Singing Fool http://movies2.nytimes.com/gst/movies/movie.html?v_id=110318 in 1928 made the talkies popular with a wider audience. The period also saw emergence of Charlie Chaplin and Valentino as box office draws.

Related Topics:
Cinema - Sound recording - Talkies - Don Juan - Movies - Technicolor - Walt Disney - Cartoon - The Singing Fool - Charlie Chaplin - Valentino - Box office


Basketball AND the Roaring 20's

We’re having a big party on Saturday.

Unfortunate thing is that everyone else is too. Well, it’s not unfortunate for everyone, just unfortunate for us, because people may be less inclined to attend OUR party. Either way, GO HEELS!

I was planning to reveal interesting facts about the 1920’s every day this week, in anticipation for Saturday’s Roaring 20’s party– and I suppose just because everyone is dizzy in anticipation for saturday’s b-ball game doesn’t mean I still can’t do that. Would be nice if there was a way to entwine the two.

Oh, wait.

Interestingly, the world of1920’s Lost Generation and Art Deco does connect to the sweet joy of b-ball. Read below for details.

Harlem Renaissance

The African American culture developed rapidly during the 1920s under the title of the “Harlem Renaissance”. In 1921, the Black Swan Corporation opened. At its height it issued ten recordings a month. All-African-American musicals also started up in 1921. In 1923, the Harlem Renaissance Basketball Club was founded by Robert Douglas. During the later 1920s, and especially in the 1930s, the basketball team became known as the best in the world.

So, if the 20’s never existed or weren’t as interesting as they were, we may not be celebrating the madness now. Having said that, we know that everyone wants to watch the game. That is why we are going to do EVERYTHING in our power to get the game playing at the Metropolitan Room, Saturday night, at 8pm, at good ol’ 109 Green Street, downtown Fayetteville. Be there or be balled. ;) (You can buy your tickets online here.)

Stay tuned for more interesting quips and tidbits about the ROARING 20’s. (but i doubt there will be anymore basketball facts, sorry!)


assistant director statement

I thought I would share our Assistant Director, Michele Horn’s, statement about our exhibit, Raw Identity that premieres tonight from 6-8pm here at the Museum. Michele curates all of the exhibits here at the Museum and truly has a flair for bringing together artists that are vastly different yet remarkably complimentary. This exhibit is no different.

We document identity as a society through the various forms of portraiture that make up the fabric of our lives. Many of these moments we’d prefer were not documented– the dreaded grade-school portrait, the gritty & unrefined driver’s license, even an identification badge at your place of employment. These veritable mugshots can cause us to negatively reflect or provide static images of our own identities. Other moments of polished portraiture, stylized and thematic still-life settings of family, weddings, and baby portraits might reveal the identities we wish to present. In our technological world, we communicate through and sometimes behind chosen identity profiles on Facebook or Myspace. Stylized images, candid photo shots, and formal poses are choices we as individuals make to represent our identity. Encounter the works of artists Harry McDaniel, JJ Ohlinger, and Doug VandeZande as they deconstruct traditional portraiture to reveal a raw identity beneath.

Interesting, right? Something that might pull you away from your couch on a fairly cold and rainy Friday. Allow you to reflect on your own identity as you look at these art pieces– how do you present yourself? How might you like to present yourself to the big, bad world? Do you present yourself differently at work? At home? In the public eye? Just a few questions to think about before you come on out to the premiere tonight.

(remember, it’s from 6-8pm right here at the Museum, is FREE, and offers FREE beverages & food, live music, and ART!)


band to play friday at fmoa

Check out a review written of an album Birds and Arrows released in January of this year.

Recent Album Review in Independent Weelky
(a Durham/Raleigh/Chapel Hill Publication)

Birds & Arrows’ Woodgrain Heart
14 JAN 2009 • by Grayson Currin

The packaging for Woodgrain Heart, the debut EP from Chapel Hill duo Birds & Arrows, consists of a slim cardboard sleeve that’s been spray painted a deep cerulean shade, the band’s name written in a comfortable, slightly sloppy script across the top in coarse black marker. A rudimentary cutout of a human heart printed onto the sort of lumber laminate you’d use to line kitchen cabinets sits at the middle. Tucked inside, the liner notes are printed onto a single sheet of tawny paper with doodles and lyrics and acknowledgments packed onto one side, pictures of price tags and the band set in a grid on the other. It’s a decidedly handmade production, the sort of thing bandmates attached at the hip make while watching the sun come up, an old record spinning on a nearby stereo.

Indeed, Pete and Andrea Connolly (neé Nell) wed in October, becoming the most recent addition to the Triangle’s excellent collegium of married bands that includes The Rosebuds, Work Clothes and Waumiss. And their work—warm, emotional, poetic folk music played tenderly and gingerly—thrives on the relationship’s intimacy, spinning songs from domestic images like the blue flickering flame of a gas burner and the trove of persistent memories that remain like love’s kindling. Andrea, who sings and plays guitar in the bluegrass quartet Sweet By & By, takes the lead on three of the EP’s six tracks, turning in a slow-burning performance on opener “Garden Shed” and layering her reverb-tinged vocals over banjo and handclaps on the title track. With a voice that’s as workmanlike as it is worn, Pete adds a jangly lift to his tracks, like the mandolin-abetted “Old Man Winter” or the structurally convoluted “Black Shoes.” But, as things should be, the Connollys sound best when they sing together, their complementary voices wrapping together in rustic contentment and comfort, like a happy pair making music because that’s how love makes them feel. These six splendid songs beg for those feelings to continue.

Reading that, I totally want to check them out. Good thing you can check them out for FREE at this week’s Premiere Party for the Raw Identity exhibit. Mark you calendar– FRIDAY the 13th, from 6-8pm at the Fayetteville Museum of Art!


planning your family friendly visit to the FMoA

As we prepare to unveil a new exhibit, it seems an appropriate time to discuss what is involved when planning a visit to the Museum of Art— especially as you will most likely want to bring your little ones along— exposing them to an enriching world of art that they will want to come back for, again and again. Most aren’t fully aware of all the Museum has to offer once they open those double doors. Reading on will ensure you can make the most of your trip.

Firstly, become abreast of the Museum’s exhibition schedule. Many folks don’t realize that our exhibits change every 2 months– meaning you can plan a day of art and excursions and field trips right here in Fayetteville multiple times in a year. No reason to travel out of town! An added incentive is that the Museum is always free. Have a conversation with your children on the way to the Museum about expected behavior. Little voices, no touching, and no running are the most important instructions to pass on to your child. With a little planning you can have a full day of art at little to no cost!

Prep for your day. Bring snacks, drinks in closed containers to carry in a knapsack, something to keep print materials in, a camera (the Museum welcomes pictures with no flash). The Museum sits on a beautiful 5 acre lot with a stream, gazebo, bridges, and plenty of ducks. This will keep your child’s interest keen as their surroundings continue to change.

As far as the exhibits are concerned, you will first want to do your research. Typically the Museum has a three to four artist exhibit with a variety of different kind of works. Visit our website here- as this will be the most up to date resource on Museum programming (to include classes or workshops that may happen on the same day!). Additionally, making a phone call (910-485-5121) will ensure that the exhibit is actually open to the public (the gallery is closed during exhibit change-outs do to our limited space). You may also inquire to the friendliness of the exhibit to children. Some parents are more comfortable with their child seeing a nude or partially new art piece, others are not. (Though we don’t always or even often have such pieces. This way you can avoid surprise if we do.) We are regularly open Monday through Friday from 10am to 5pm and on Saturday and Sundays from 1pm to 5pm.

With each new art exhibit we always have at least three print materials to make your visit to the Museum easier– these items greet you at the main entrance table. Please pick up our Gallery Guide (to review Artist Statements, price lists, etc.), a professionally designed invitation of the exhibit as a keepsake, and a youth activity to utilize during the visit. Typically the youth activity is a scavenger hunt. It connects the child with art in a fun and exciting way while also offering a small reward at the end. See the Receptionist after the activity is completed for a small prize (typically little notebooks, crayons, or beginner paints).

There are always other print materials available at the main entrance to include class registration brochures, our newsletter, or other event offerings. Take a moment to peruse to be sure if any catch your attention and perhaps offer another enticing adventure to the Museum. Exhibits will often incorporate sculpture, painting, mixed media, textiles, photography, etc into one themed show. This allows you and your little one to explore the different ways art can manifest itself to present a single, unifying theme of varying forms.

Once you and your little one have gone through the exhibit and completed the exhibit activity, be sure to drop into the Museum Shoppe for a memento or special art gift. Also, if you happen to make your trip during the week, our Hands on Art Gallery is usually open downstairs in our education department. This space provides art activities themed to each exhibit with the use of FREE art supplies. Your child can channel their inner Picasso and make their own fantastic works of art! You can also drop into the Art Library to continue the art instruction at home– even check out a Art Kit to use at home!(ALL FREE!)

Another print piece that is worthwhile to grab while in the Museum is our Sculpture Garden Gallery Guide. It provides a map with information about the 12 sculptures out on our grounds. Your child will love these larger than life size pieces of art and enjoy their own little “treasure” hunt for art!

Reviewing the current exhibit, perusing the wonderful works of art in the Museum Shoppe, enjoying the Hands On Art Gallery, scanning the shelves of the Library, and sharing a picnic or feeding the ducks after a tour of the Sculpture Garden seems like a thorough day of art for you and yours. You might even like it so much it becomes a family tradition!

AND, if all of this wasn’t enough, you can extend your art day by heading on down to Gallery 208 (208 Rowan Street across from Festival Park) and take in our satellite gallery’s terrific art. Typically this gallery (also the offices of Up and Coming Weekly Magazine) showcases two artists who call Fayetteville home.

Who said there wasn’t anything to do in Fayetteville?

Raw Identity

The title of this post is the title of our forthcoming exhibit, which is largely making its way here from out of town today. (Artists are coming from Raleigh and Greenville today to deliver their precious works.) The gallery is currently chaotic, being spackled and painted, prepping for Friday’s premiere.

JJ Ohlinger Piece

I find this theme of this exhibit very intriguing, and I’ll pull from featured artist JJ Ohlinger’s artist statement to illuminate just why it is so intriguing.

“For the past several years my work has been an examination of the ideas and concepts of what “Identity” means and how I, as a contemporary artist, challenge the conventions of traditional portrait painting. Historically, we are all familiar with the grand portraits of world leaders, nobility and the great patrons of society. But in today’s age, they don’t serve much more of a purpose to us than decoration for currency. We are so inundated with imagery that it becomes difficult to recount something we may have seen only minutes earlier. We encounter so many people on a daily basis, that we rarely notice the individual sitting at the table next to us in a restaurant. My work is about taking notice and hopefully discovering the unique identity of the individual depicted not only in the image but also the people you will encounter today.”

Doug VandeZande Photography

We hope you will come out to the Museum of Art on Friday and challenge your own perspective of your identity and how it manifests itself, or how others close to you or even those people from a distance choose to present themselves.

Harry McDaniel Piece



Call for Sculpture

Here’s an opportunity that as a sculptor, you shouldn’t miss!

Call for Sculpture Entries

Fayetteville, NC


Entry Deadline: Friday, March 6, 2009

Notification: Tuesday, March 31, 2009

Installation: April 15-17, 2009

Exhibition: April 20, 2009 through April 1, 2010

Removal of Works: April 1-2, 2010

The Fayetteville Arts Community has made a commitment to placing sculpture throughout our downtown area. A unique partnership between the Arts Council of Fayetteville/Cumberland County, the Fayetteville Museum of Art, and the City of Fayetteville has been formed to exhibit public art within our community. The exhibition will be open to artists 18 years of age and older. Five completed works will be chosen for installation in Fayetteville’s Festival Park located at 345 Ray Avenue, Fayetteville, NC.

Exhibition Guidelines

Completed Works

This category includes sculptures that have been previously completed and are ready to install. Sculptors may enter a maximum of three completed works (two views of each work for a total of six jpegs). Each individual sculpture entry must include the cost of one year’s rental.

The selected works are to be exhibited in Fayetteville’s Festival Park from April 20, 2009 through April 1, 2010. Work must be suitable for outdoor installation: a) able to be structurally secured to a concrete pad with anchor bolts or similar devices; b) be capable of withstanding adverse weather conditions; c) withstand a high traffic environment; d) and should take into consideration the safety of the audience. Works judged unsuitable will not be considered for the exhibition.

Artists are responsible for the timely installation and removal of all works. Works must be installed during the dates of April 15 – 17, 2009 and removed April 1-2, 2010. A crane will be available for one day only during the installation/de-installation period. Artists unable to meet the scheduled installation and removal requirements are not eligible. The artists are responsible for shipping and delivering the works to and from Fayetteville, NC.

Artists may sell the work during the exhibition; however, the work must remain on site for the duration of the exhibition. The sponsoring agency, the Arts Council of Fayetteville/Cumberland County will retain 30% of the purchase price.

Liability: The Fayetteville Museum of Art will provide insurance coverage during the exhibition from April 15, 2009 – April 2, 2010.

Participation in the exhibition entry process constitutes an understanding and acceptance of the conditions set forth above.

Selection Process

Works will be juried by committee including representatives from the Arts Council of Fayetteville/Cumberland County, Fayetteville Museum of Art, University and Community College Arts Professionals and community members.

Application Process:

Email to: Calvinm@theartscouncil.com or Michele@faymoa.org

    • 1. Send jpegs at 300dpi (up to 3 sculptures with 2 details)
    • 2. Provide title, dimensions, medium, and price
    • 3. Include installation requirements (ie. Crane))


Stimulate the Arts and Keep America Strong

I received an e-mail of this blog post, and I find it terribly fitting:

"In these times of economic crisis, it seems only rational that we should look back at our history to review what works if we want to create jobs and secure a strong economic legacy for future generations.

When faced with a collapsing economy, President Franklin Roosevelt tried to put Americans in all lines of work back on the job. Instead of singling out artists as somehow frivolous and unimportant to our nation's economy, he instituted a host of programs designed to put federal funds into the arts, employing America's creative talent and leaving a cultural legacy that endures still today.

The highpoint of this commitment was the Works Progress Administration's Federal One program, which put thousands of Americans to work in the arts. The government program was a lifeline for Jackson Pollock, Mark Rothko, Orson Welles, Burt Lancaster, Sidney Lumet, Ralph Ellison, Richard Wright, Studs Terkel, John Cheever, Saul Bellow, and thousands of other artists across the country.

These programs created much-needed jobs in the immediate term, but they did much more. They fostered great talents that otherwise may have been lost. The work of the many great artists supported by the government in the 1930s still benefits us today. Their contributions to our culture endure, and their successful careers resulted in employment for many others in the years that followed.

Today, however, many of our leaders apparently have forgotten this lesson of our not-so-distant history. Faced with an economic downturn of staggering proportions, some attack any help for the arts as waste, ignoring the millions of Americans who earn their livings and support their families through their artistic endeavors and arts-related enterprises.

The economic stimulus bill currently under consideration on Capitol Hill shouldn't neglect these Americans. The version of the bill passed by the House of Representatives contains $50 million in funding for the National Endowment for the Arts, which provides critical support for America's not-for-profit arts institutions. This provision has been attacked as "pork" by some, while the Senate bill currently provides nothing for the NEA. To make matters worse, this week Senators stripped out a provision intended to provide the same job creating benefits for the film industry as the bill provides for other industries.

Why is it so hard for some to realize that jobs in the arts support millions of Americans and are no less worthy than any other job that puts food on the table? Economic studies indicate that 2.98 million Americans are employed in the arts or in arts-centric businesses. Each dollar allocated to the arts not only supports those individuals; the benefits flow outward to their communities and to other businesses. Movie production doesn't require only actors and directors. Stay for the credits after a film ends and you can't help but notice the incredible army of workers required to bring a story to the screen. In turn, each of those individuals and businesses spends money and pays taxes in their communities. The economic returns and stimulative effects are clear.

Beyond the finances, though, investing in the arts during these tough times can ensure that America doesn't lose a generation of creative talent to our temporary economic woes. Somewhere in America today, there are individuals with the potential of Orson Welles and the artistic gifts of Mark Rothko. It is foolhardy to attempt to save our economy by ignoring our talent"

a letter...

Dear Ms. Gilbert:

Thank you for contacting me in regard to the American Recovery and Reinvestment Act, also known as the economic stimulus. I appreciate learning your views on this critical issue.

On January 28, 2009, I joined 243 of my House colleagues in passing the stimulus package. This legislation, though imperfect, will effectively help jumpstart the American economy. The stimulus will save and create up to four million jobs, provide a tax cut for 95 percent of working Americans, and renovate our country's crumbling infrastructure.

By any measure, our country is struggling. Credit is frozen, consumer confidence is low, and the stock market has taken a deep plunge. Our country has seen 2 million job losses in the last four months. Ten of the counties in our district are suffering from double-digit unemployment as are more than a third of all counties across the state. These are dire times, and Congress must act swiftly.

In the face of the highest unemployment rate in 26 years and a deep state budget shortfall, North Carolina will benefit from billions of sorely needed dollars in the stimulus. Specifically, North Carolina will benefit from the following investments:

o $2.26 billion for additional Medicaid funding;

o $1.87 billion for "state fiscal stabilization funding" to help state and local governments fund education and other key services;

o $1.26 billion for education funding, including $361 million for school improvements;

o $117 million for additional funding for Supplemental Social Income (SSI).

The stimulus bill offers us a unique opportunity to create jobs while modernizing our infrastructure, making investments in weatherizing homes, retrofitting old public buildings to make them more energy efficient, and investing in smart grid technology. Further, we will rebuild our roads, bridges, transit, and waterways.

This legislation not only makes large investments, but also helps American individuals and businesses keep more of the money they earn:

o The Make Work Pay Tax Cut provides immediate and sustained tax relief to 95 percent of American workers through a refundable tax credit of up to $500 per worker ($1,000 per couple filing jointly), phasing out at $200,000 for couples filing jointly and $100,000 for single filers.

o More than 3.1 million North Carolina residents will benefit from the Making Work Pay Tax Credit.

o Allows businesses to improve cash flow by providing a 5-year carryback of net operating losses (NOLs). This would allow businesses to write off 90% of losses incurred in 2008 and 2009 against taxes assessed over the previous five years (current law limits NOL carryback to the previous two years).

Due to the size of this legislation, I have only enumerated a few of its critical provisions. If you are interested in a more detailed review of the bill, please visit my website, www.house.gov/butterfield, and click on the link for the "American Recovery and Reinvestment Act" under the "Issues" category.

During the 110th Congress, I voted against financial bailout legislation because I believed it did not address the problems of Main Street America. The American Recovery and Reinvestment Act addresses the needs of average Americans who live in northeast North Carolina. Despite some flaws, it is the best method of reviving our economy, and putting Americans back on the path to prosperity.

Thank you again for contacting me. I welcome your opinion and appreciate your support during these difficult times.

Very truly yours,

G.K. Butterfield
Member of Congress

more girls night out pictures...

one of our lovely attendees, laura, invited us to view her pictures for the event.

you can check them out here.

also, thanks to melissa clement for featuring us in the saturday extra this weekend!




Member Name

DC Phone


Electronic Correspondence

Senator Richard Burr (R- NC)




Senator Kay Hagan (D- NC)




Representative G. K. Butterfield, Jr. (D - 01)




Representative Bobby Etheridge (D - 02)




Representative Walter B. Jones, Jr. (R - 03)




Representative David E. Price (D - 04)




Representative Virginia Foxx (R - 05)




Representative Howard Coble (R - 06)




Representative Mike McIntyre (D - 07)




Representative Larry Kissell (D - 08)




Representative Sue Myrick (R - 09)




Representative Patrick McHenry (R - 10)




Representative Heath Shuler (D - 11)




Representative Melvin L. Watt (D - 12)




Representative Brad Miller (D - 13)




Here is a little paragraph you can copy and paste to each representative/senator:

Greetings (Representative Butterfield –change the contact information for each one),

I write to you today to encourage your active support of the arts in President Obama’s new Economic Stimulus Bill. President Obama is shaping a stimulus package that has talked about both infrastructure and jobs, and it’s unclear if all of his jobs creation will be within the infrastructure bill or if there will be an additional jobs bill later. Why not encourage the focus on the arts infrastructure, i.e. repair, renovation, expansion, and new construction of arts facilities and grounds? As we work diligently to be ready to act if these funds are available, let’s be advocates for making art funding available to enrich our lives and cultural inventory. The arts can be a part of the solution to the economic dilemma our state and nation are in with your help.


(your name!)