Newsroom

Blue Water believes that, even in a sea of digital media, relationships still matter, which is why we work hard to stay in touch with editors, writers and reporters. As a result, our clients are regularly featured in major media outlets, along with those that reach a highly targeted audience unique to their work.

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Clients in the News

Washington Post | Museum and gallery exhibits in the D.C. area this week

Oct. 9, 2024 | Eight exhibitions are on view through Dec. 8: “Ralph Steadman: And Another Thing,” “Joseph Holston: Call and Response,” “Endless Transformations: The Alchemy of Connie Imboden,” “Faces of the Republican Party,” “New American Landscapes,” “Mira Hecht: In the Center Thereof Rose a Fountain,” “Pegan Brooke: Flux II, Light on Water,” and “A Sight to Behold: The Corcoran Legacy Collection of Nineteenth and Early Twentieth-Century American Landscape Paintings.” 4400 Massachusetts Ave. NW.

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Hyperallergic | Petah Coyne’s Maximalist Art Lays Bare Women’s Oppression

Oct. 8, 2024 | Coyne’s work sits between abundance and suffocation, uses seductive materials to serve uncomfortable truths about the barriers that face women. Throughout history, women have been swaddled in satins, velvets, and crinkly chiffons with adornments so excessive that they curtail movement. Elaborate hairstyles and high heels — expressions of a culture’s fickle notions of beauty — might seem innocuous, but they too constrict women.

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W Magazine | The Insider’s Guide to Honolulu

Oct. 7, 2024 | Another place worth visiting is Shangri La, Doris Duke’s former home which has been converted into a museum. The house itself—Islamic art and design in a modernist setting—is breathtaking, as is the location. Book a private tour.

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See Great Art | Women artists of the Ballets Russes at McNay Art Museum

Oct. 5, 2024 | The Ballets Russes’ revolutionary costume and set designs, innovative choreography and music, and captivating themes transformed ballet in the early 20th century, and their groundbreaking work continues to influence the art form today. McNay Art Museum celebrates the dance company’s seldomly recognized contributors in “Women Artists of the Ballets Russes: Designing the Legacy,” on view October 10, 2024 through January 12, 2025.

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Print Mag | The Daily Heller: “Serial Polluter” Ralph Steadman Gets the Last Laugh

Oct. 2, 2024 | Ralph Steadman’s last retrospective was cut short by COVID-19. But luckily his work is a moveable feast, and now Ralph Steadman: And Another Thing—a collection of 149 artworks and memorabilia chronicling the artist, satirist and Gonzo illustrator’s prolific and culture-shifting career—is debuting at the American University Museum at the Katzen Arts Center.

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Vanity Fair | Fear and Loathing in DC: Gonzo Illustrator Ralph Steadman’s Life and Work

Sep. 26, 2024 | In a new exhibition, Hunter S. Thompson’s wingman showcases more than 60 years of hallucinatory art. In the 1970s, so-called gonzo journalist Hunter S. Thompson was riding high in nearly every sense. His books Fear and Loathing in Las Vegas and Fear and Loathing on the Campaign Trail ’72 had made him a counterculture icon, and his caricature repeatedly graced the nation’s newspapers in the form of Uncle Duke, the drug-fueled, gun-packing former Rolling Stone writer in Garry Trudeau’s “Doonesbury” comic strip.

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ArtDaily | Chazen Museum of Art names inaugural Chief Engagement Officer

Sep. 20, 2024 | The Chazen Museum of Art has named Berit Ness as the institution’s inaugural chief engagement officer. In the new role, Ness leads the Chazen’s visitor-focused and inclusive outreach efforts that align with the Museum’s mission as a teaching and learning institution. She oversees public programs and education, marketing and communications, campus and community outreach and the visitor services program. Her appointment began Sept. 9.

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Artnet: ‘Style Is Nothing’: How Ralph Steadman Transformed Cartooning Into High Gonzo Art

The storied cartoonist reflects on his career as a touring retrospective kicks off in Washington D.C. You know a Ralph Steadman work when you see it. You’ll recognize his restless lines and evocative paint splatter, his grotesque visages and uncanny vistas. But for an artist with such a pointedly distinct aesthetic, Steadman won’t entertain any talk about style.

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