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What a difference a decade makes. Ten years ago, successful artists rarely would submit their work to a juried show. And as for sleepy Bethesda, it just was beginning to transform itself into Montgomery County's art gallery ground zero. In olden days, artists figured group exhibits were for emerging artists trying to pack their so-slim resumes. As for exhibiting in the suburbs, it just wasn't done.

But that was then. Now, with 10-grand up for grabs, some 350 artists vied for gallery space in the sixth annual Trawick Prizes: Bethesda Contemporary Art Awards, on view today through Sept. 27 in the Bethesda gallery Heineman Myers Contemporary Art.

It's safe to say that most of the 15 artists accepted into the show aren't close to being emerging, asserts Leah Stoddard, who juried the show with two other curators. The class of 1982 Walt Whitman High School alumna with 20 years of experience as a curator says the exhibit's caliber of artists is "higher than most" juried shows. But then again, Montgomery County has changed a great deal, too. In fact, when Stoddard returned to Bethesda from her Charlottesville, Va., home, she got lost.

"I couldn't find Cordell Street," she recalls.

Using a map, the juror set out to see the galleries and was duly impressed. Like the District's U Street corridor, Stoddard believes Bethesda is becoming "an important place to show."

Produced by the Bethesda Arts & Entertainment District as well as James and Carol Trawick's "supporting living artists" with their annual prizes, the event has put this region on the map. Typically, artists are fortunate to win "$500 or receive a book containing their artwork," Stoddard notes. "But $10,000 with no strings attached is a rarity."

Stoddard loved working with two other "strong, knowledgeable curators" who didn't keep their ideas – no matter what – to themselves. Sifting through hundreds of digital images in search of exceptional work, they also considered pieces that would make for a cohesive exhibit. Heineman Myers has as many windows as walls, which requires adjustments.

For those seeking pretty cow pastures or sunsets over the C&O canal, this show isn't it. Most artists eschewed traditional methods; one artist used acrylic paint, but on velvet canvas, and another produced sculptures with polystyrene packing peanuts. Even individual hairs becomes pencil strokes when carefully placed on paper, which may seem creepy, but in fact, has been used in art and jewelry for centuries.

Although Stoddard has seen it all, she was surprised by Joseph Barbaccia's polystyrene and sequin sculptures.

"I had never seen it. I like when crafts and art come together. With the forms not quite representational or abstract, they are not too serious," she says.

Barbaccia's shapes are refreshingly simple, but his explanations are decidedly difficult. He insists they come to him with the meme, which he patiently defines as "a unit of cultural information, such as a cultural practice or idea that is transmitted to others." And, oh yes, his daily yoga routine also helps.

Stoddard was equally enamored with Baby Martinez's "controlled explosions with trash." The artist takes on "something we might walk by or what we overlook" and transforms the mundane into something simple and beautiful.

At first glance, Maggie Michael's expressionistic painting may seem stale, but Stoddard recommends viewers take a closer look. She calls Michael's work "controlled accidents." Michael uses her intuition, and if a drop of paint falls on the wrong place, the painting "loses it all."

Today's young artists are a different breed. Internet savvy, they can access decades of art, view other artist's Web pages and communicate. This is a windfall for artists, who often work in isolation.

In view of this overload of information, Stoddard was struck by how many of their selections were simple, refined and surprisingly fun. Dan Steinhiber places polystyrene packing peanuts in a black trash bag, then removes all the air, thus transforming throwaways into something akin to bronze.

After viewing the exhibit, Stoddard insists, "Mundane objects will never look the same."

With many contemporary artists' work representing "a shrill, the end is near and nothing matters" mentality, Stoddard appreciates when "humor happens." This show doesn't attempt to be the oh-so-serious "Art Forum [magazine]. There's a levity."

Warren Craghead's postcard art is an example. For this show, he uses stream of consciousness to create simple drawings on used postcards, then adds the ubiquitous Post-its filled with personal reminder notes like "pick up bread." His work defines "everyday existence creating poetic self-portraits."

Being in the know helps when looking at some of the art. The neon sculpture "This is not Kosuth" is a reference to Joseph Kosuth's sculptures and Rene Magritte's "This is not a pipe" painting.

Stoddard reasons, "Today's artists are like sponges. Using the Internet they can compare periods in art and pick and chose."

Regardless of the materials, "Doing it well in a simple way" matters. Using clarity with a twist, these artists made something singular rather than creating a narrative. They made poetry."

The work of The Trawick Prize: Bethesda Contemporary Art Awards finalists is on view Tuesday through Saturday, 1 to 6 p.m. today through Sept. 27, at Heineman Myers Contemporary Art, 4728 Hampden Lane, Bethesda. A reception will be held Friday, Sept. 12, 6 to 8 p.m. Call 301-215-6660 or visit www.heinemanmyers.com.