BETH CARTLAND uses a wide range of techniques and materials in her exploration of artistic expression.  She combines a mastery of classic technique and an innovative view of our world, resulting in a collection of powerful works. Beth’s primary focus is on painting and collage but she also uses found and natural object to create small sculptures.

Cartland is affiliated with galleries in Washington, DC and New York City. She has exhibited in galleries and museums throughout the United States and in Venezuela and with the International Women's Conference in Beijing, China. She exhibits with the US State Department and the ART in Embassies program and has shown work in Croatia and Pakistan.

Beth studied art in a variety of places from Germany to Texas, California to Rhode Island including the Rhode Island School of Design. Cartland has an MFA degree in painting from The American University. Cartland has taught art for all ages from elementary through adult including classes with the Smithsonian’s Resident Associates Program.

Beth Cartland lives and paints in Washington, D.C . Her work may be seen on her web site www.BethCartland.com and she may be reached at cartlandb@starpower.net.

Beth Cartland
January 2008
cartlandb@starpower.net
www.BethCartland.com

I love the process of painting....the physical process of applying paint to canvas. There is a real sense of freedom in allowing a spontaneous application of color and line to the prepared surface. There is energy in painting that works towards connecting my spiritual as well as my emotional spaces.

It almost always begins with a line, or many lines drawn as fast as possible. Then, I like to hang shapes and colors and textures together in and around the lines. Sometimes they tell a story or illustrate an emotion, but not always. Often I add objects to the surface of my work, creating a collage out of patterns and paint, line and texture. When working with a live model I will start with a line drawing that is fairly representation but will then work itself into an abstraction of the mood or motion of the model. For me, abstract art, like life, is always accessible and inaccessible at the same time. Both tangible and mysterious, abstract art contains the elements of surprise and spirituality.

Beth Cartland, Dec. 2008
cartlandb@starpower.net
www.BethCartland.com

2009 - Phoenix Gallery, NY City, April
2007 - Anne C. Fisher Gallery, Washington, DC "Shaping Light"
2006 - Phoenix Gallery, New York City "Evolution Series"
2004 - Anne C. Fisher Gallery, Georgetown, "Moving Forward-Looking Back
2003 - Installation "Hands", Warehouse Gallery, Washington, DC
2002 - Leslie Powell Gallery & Foundation, Two-Woman Show, Lawton, OK
2002 - Harmony Hall, Two-Woman Show, Ft. Washington, MD
1997 - University of Missouri, Columbia, MO
1995 - Phoenix Gallery, Gallery II, New York City, NC
1994 - Phoenix Gallery, Gallery II, New York City
1993 - Glen Echo Gallery, U.S. Department of the Interior, Glen Echo, MD
1993 - George Meany Center for Labor Studies, Silver Spring, MD
1992 - Rogers Gallery, University of Missouri, Columbia, MO
1992 - Arts Alive Gallery, Montgomery County Arts Council, Bethesda, MD
1985 - Leslie Powell Gallery and Foundation, Lawton, OK

• Cameron University Invitational, Nov. 2008
• Sewall-Belmont Museum, Girls Gotta Run, Washington, DC June - Sept. 2008
• The Watergate Gallery, Washington, DC 12 Painters, Jan. 2008
• The Mansion at Strathmore, Rockville, MD Feb. 2008
• 25th Annual Montpelier Invitational Exhibition, four artists June-Aug. 2006
• Anne C. Fisher Gallery, Mothers, Washington, DC May 2006
• 2006 Sculpture Now, Washington Square, Washington, DC, Sarah Tanguy, Juror
• 2005 Strathmore Hall, Bethesda, MD. "Exhibit of 12"
• 2003 Open Exhibition, Fairfax, VA, 2nd prize, Juror, Stephen Bennett Phillips, Curator, Phillips Collection, Washington, DC
• TouchstoneGallery, Joe Shannon, Juror, Washington, DC
• Target Gallery, Kathleen Moran, juror, Alexandria, VA
• U.S. State Department, "Arts in Embassy Program", Croatia
• Sculpture Now '03- Giorgio Furioso, Juror - Washington, D.C.
• The American Center for Physics, Sarah Tanquy, Guest Curator, College Pk. MD
• U.S. State Department., "Selected Women Artists from USA and Pakistan," Art In Embassies Program, Islamabad, Pakistan
• Nexus Gallery, National Juried Small Works Show, New York City, NY
  
• Sculpture Now, Phil Lee, Juror, Washington D.C.
• Spectrum Gallery, "Artists Invite Artists," Washington, D.C.

• Vjesnik, Croatian Daily News, May 21, 2004 Kultura Section interview by Nikollna Vrekaloe, photograph by Vjesnik/Ivan Sebelja
• LAWTON CONSTITUTION, March 28, 2002 Entertainment
• WASHINGTON POST, Prince George's Edition "To See" Section, April 2002
• NORTHWEST CURRENT, Washington, DC , October 25, 2000 "People and Places of NW Washington"
• POET LORE, INTERNATIONAL JOURNAL OF CONTEMPORARY POETRY, Vol. 94, number 1,Spring 1999 ront and Back Covers
• POET LORE, INTERNATIONAL JOURNAL OF CONTEMPORARY POETRY, Vol. 92, number 2,Summer 1997 Front and Back Covers
• THE VILLAGER, Oct. 4, 1995 New York City
• ARTSPEAK, review by Ed McCormack, April 1994, New York City, NY
• KOAN, Vol. III, No. #3, Nov. 1994, review of "Frankly Female"
• The Uptown Citizen, Thursday, April 16, 1992 Vivaldi's and Art
• ARTSCAPES, review by Tom May, What's New At Arts Alive! Gallery, Bethesda, MD
• EYEWASH, The Washington Artists' Newspaper, October 1991, review by Ann Wood Wallace
• THE AMERICAN LITERARY, ONEIROMANCY, Spring Edition, pp 10 & 14, 1986
• JOURNAL OF POPULAR CULTURE, p.6 article by Dr. B. Scott, Cameron Univ., OK
• THE LAWTON MORNING PRESS-CONSTITUTION, The Arts, Wednesday, June 12, 1985
• KILLEEN DAILY HERALD, Sunday Magazine, Feb. 28, 1982
• TEMPLE DAILY TELEGRAM, Temple, TX, Sunday, Feb 1, 1981

1990-1987 Murch School
36th and Davenport, NW Washington, DC 2000 Established art dept. and taught
1987-1988 Jewish Community Center Rockville, MD
Ceramics instructor
1988 Fillmore Arts Center
Summer Camp Program
Washington, DC
1985-84 Lab Assistant, Printmaking
Substitute Teacher, drawing class
Cameron University, Lawton, OK

MFA Painting, The American University, Washington, DC 1987 BFA Cameron University, Lawton, OK, 1985 BS Dept. of Environmental Design, University of Missouri, Columbia, MO, 1963

• Rhode Island School of Design
• Corcoran School of Art and Design, Washington, DC
• Central Texas College, Kileen, TX
• Montgomery College, Takoma Park, MD
• Atlantic Center for the Arts, New Smyrna Beach, FL
  Painting Fellowship with Kay Walkingstick
• Atlantic Center for the Arts, New Smyrna Beach, FL
  Visual Arts Fellowship with Alison Saar

In Celebration of the 40th Anniversary of the ART in Embassies Program

• Invitation from Mrs Laura Bush for a reception at The White House, May 17, 2004
• Invitation from the Secretary of State and Mrs Powell to a reception at the Department of State, May 17, 2004
• Invitation from Mrs Lynne Cheney at the Vice President's Residence for a brunch, May 18, 2004

 

• Guest of Honor at a Lunncheon in Zagreb, Croatia residency of Ambassador and Mrs. Ralph Frank
• 2nd Place, Fairfax Open, Stephen Bennett Phillips, Curator, Phillips Gallery, Washington, DC, 2003
• Cameron University, The Printmaking Award, 1985
• McMahon Award, Cameron Univ. Fine Arts Dept., 1984
• Best of Show, Killeen, Texas Art Show, 1982 2nd Place, Mixed Media
• Pegasus Central Texas Art Competition, 1981 2nd Place

"From Time to Time" Five artists selected by Sarah Tanguy, art critic"

Cartland's Fossil House Series adopts an archeological approach to process, materials, and meaning to explore the house as sanctuary of memories and mysteries....Fragments of skin-like Tibetan paper as well as gold and silver leaf add texture and flashes of light..Each house from the series emerges from primal swirls of paint, and is enclosed in a box frame to echo the idea of shelter...

The American Center for Physics, College Park, MD, 2002

 

"Artspeak", New York; by Ed McCormack

"Beth Cartland is a talented abstract painter from Washington, DC, whose large oils are inspired by what she call 'emotional and spiritual spaces,' as well as landscape spaces.

Cartland puts a high premium of spontaneity and the physical process of painting, putting her whole body into the stroke to create compositions in which sensually rounded forms engulf the viewer with their sweeping rhythms. She employs a broad vocabulary of varied impastoes, glazes, drips, and other elements - including oilstick calligraphy - to enliven her surfaces and enhance the tactile appeal of her paintings.

In her large canvas "Cycle IV", powerful white shapes at the top of the composition conduct a visceral dialogue with glistening areas of red at the bottom, creating a compelling formal interaction.

Another large canvas, "Magic of the Wichita Rocks" takes its inspiration from a natural subject, which Cartland transforms into a monumental composition and a rich coloristic statement.

Also including a group of smaller abstractions in oil and acrylic, notable for their sensual textures created through the resist method" this show reveals Cartland as an artist with an impressive range of effects to support a strong personal vision."

New York City, 1994

 

KOAN, Ken Oda's Art Newsletter

"Worth Seeing", "Frankly Female", at The Collector Art Gallery, Washington, DC

"And Beth Cartland's "Letting Go/Fallen Seeds" is a bold, beautiful abstract expressionist painting." Washington, DC, 1994

 

Artscapes "What's New at Arts Alive! by Tom May

..An array of paintings and prints by artist Beth Cartland.enigmatic and lyrically haunting abstractions of color, time, and mood.provided a fitting visual counterpoint to the spectrum of performances that punctuated the evening..

Verbal images yielded to the poetry of motion as Beth Davis, director of dance theater at Glen Echo, led her ensemble "In Good Company" in a series of starkly choreographed pieces in conversation with the artwork on the wall. The use of shadows cast on these works by the moving dancers was effective.

One of the evening's highlights involved a synthesis of this array of talent in the form of multimedia dedication of one of the featured Beth Cartland paintings."Time Like an Ever Rolling Stream." As The Blenders returned to sing the Bach chorale which is source of the painting's inspiration and title, the members of "In Good Company" simultaneously danced a series of solos, providing an eloquent statement of interaction with the canvas.

Arts Alive! Gallery, Bethesda, MD, 1991