Sunday, August 28, 2016

The Last Copy of The Constitution

From my obsessive drawings series (where I repeat the same theme ad nauseum). This work will be at The Affordable Art Fair in NYC, booth 1.36 next month.

"The Last Copy of The Constitution" by F. Lennox Campello 19x12 inches.Charcoal on Paper. Circa 2016
"The Last Copy of The Constitution" (detail) 19x12 inches.Charcoal on Paper. Circa 2016
"The Last Copy of The Constitution" by F. Lennox Campello 19x12 inches.Charcoal on Paper. Circa 2016
"The Last Copy of The Constitution" 19x12 inches.Charcoal on Paper. Circa 2016

Saturday, August 27, 2016

Art Scam Alert!

Beware of this bastard... I've contacted Marriott and they've confirmed that this mutant is not who he says:
From: Ahmed ( 

Good day,
We are interested to place a trial order.
Attached please fine our company caralogue, i specified the required items by making them with blue ink
Confirm The items you have in stock and quote us the following
1. Your Best Price for the Item selected
2. Minimum Order quantity
3. Payment term
4. Delivery Time.
Hope to establish a very good business relationship with you.
Best Regards
Al Faisal Holding Co
Purchasing Manager
Marriott Marquis City Center Doha Hotel
Al Wahda Street
22nd Floor
West Bay Area
22466, Qatar
Tel: +974 4422-3888
Fax: +974 4422-3800

Friday, August 26, 2016

A letter from the WPA's Nathalie von Veh

A letter from the WPA's Nathalie von Veh:           
Dear members,

I am excited to officially introduce myself as your new point of contact. I've had the privilege of meeting many of you over the two and a half years I've been working at WPA, but for those of you who don't know me already, I thought I'd take a moment to say hello and tell you a little about myself.

I am a Seattle transplant who craves adventure and salty air. I first moved to the East Coast to study Environmental Policy at American University but found myself spending more and more of my time across campus in the Katzen Arts Center. It became clear to me then that I needed to be working with artists. Six years later, I'm still here because I found you -  the incredible artistic community that calls this region home. I started interning at WPA in January 2014, going to music and art shows in living rooms and basements, and eventually collaborating and organizing projects of my own in my neighborhood in Bloomingdale. Nothing gives me more satisfaction than giving back to the friends and artists that inspire me.

I am thrilled to now have the opportunity to work more closely with you at WPA. Since our move, we've been restructuring our responsibilities and redefining WPA (Whole Pitted Avocados anyone?). We have so many resources to share with you: a street-front project and exhibition space, an online artist registry, and a vast network that stretches far beyond DC. WPA is increasingly becoming more artist-driven, more focused on idea generating/sharing, and more deeply engaged with the community. Together, we can take this to next level. I hope WPA will become (and continue to be) your creative haven, a space where you can expect the unexpected, take risks, get messy, and make valuable friendships.  
Over the next couple of months, we will be exploring how artists can use politics to advocate for change. There will be countless opportunities to participate, make a difference, and weigh in on the conversation. As an artist, this project will be all about you. So keep an eye out for more information to be announced soon. 
Our door is always open to you, stop by or shoot me an email anytime. I'd love to hear what you're working on, struggling with, and what you're dreaming up.

Looking forward to the road ahead!
All the best,

Thursday, August 25, 2016

Art classes anyone?

Registration is open for the fall term of fine art classes at The Art League School in Old Town Alexandria. The fall term begins the week of September 19, with over 200 classes and 40+ workshops to choose from.

here to browse the course catalog and to register.


  • The Art League offers classes and workshops in painting, drawing, ceramics, sculpture, photography, jewelry, the fiber arts, printmaking, and more. 
  • The Art League is a non-accredited institution, open to all, that provides instruction to nearly 7,000 students annually. Focus is on personal enrichment rather than a degree.
  • Courses are offered quarterly with 150 of the most talented and well known artists and instructors in the country. 
  • Whether for the novice or a skilled professional, classes are offered for every skill level, ages five and up. 
  • Courses range in cost from $70 to $380. 
  • Weekly classes and workshops meet in our classrooms at the Torpedo Factory Art Center and at our Madison Annex in Old Town Alexandria, VA, convenient to the entire Washington, DC area.

A (Mis)Perceived Physique: Bodyscapes by Three Women Artists,

Target Gallery, the contemporary exhibition space for the Torpedo Factory Art Center, presents work by three women who use the female body to explore issues of equity, power, politics, and memory in A (Mis)Perceived Physique: Bodyscapes by Three Women Artists, on view Saturday, September 3 through Sunday, October 16.
Artists Allana Clarke, Lauren Kalman, and Carolina Mayorga implement the body in desperate ways and contribute to a common narrative about body imagery—past and present. These women assert their own agency and address body politics as another construct of power, both internally and externally driven.
The trio was brought together by D.C.-based curator Kayleigh Bryant-Greenwell, who organized the exhibition as part of Target Gallery’s second annual Open Call for Curatorial Proposals competition.
“History surrounds the viewer in this exhibition, as the past is made present and the present reflects the woes of the past,” said Bryant-Greenwell. “How far have body politics come since the height of the odalisque? What is the new role of the female body in art? These women do not offer concrete answers, but enlist the past to enflame the zeitgeist toward inclusive and critical exploration.”
Clarke’s eerie photography series Then and Now Seem to Shift Inside Me, and I Wonder How do you Imagine We Can Live Together in the Future sees the image of a black female body disappearing into the ocean. Her work acknowledges a failed social system, but also speak to an art-historical context that has used bodies like hers for the inclination of the male gaze, as well as male-dominated practicum.  Visitor are challenged to think and look beyond the art gallery itself, and into current events to consider the discourse around body imagery and rights for black women.
Kalman’s video work highlights the uncomfortable connection of body image, class, and style in relation to dominance, corruption, and identity. Her videos feature strange nude figures balancing oversized objects, affecting their movements, suggesting an unbalanced relationship between adornment and the female body. By highlighting the conflict of ornamentation and identity, she provokes the viewer to consider societal obsession with both.
Mayorga’s photographic series references art-historical images of the Madonna. She turns commentary of the male obsession with the restrictive moral expectations and behaviors of women toward issues of consumerism, gentrification, and class. By using her own face as the Madonna’s, she courts deeper engagement with viewers.
Bryant-Greenwell’s exhibition was selected as part of the 2016 Open Call for Curatorial Proposals competition by Virginia Treanor, associate curator at the National Museum of Women in the Arts.
“This exhibition provides a space for curators to present ideas to us that generate cross-cultural dialogue,” said Leslie Mounaime, Target Gallery director. “Kayleigh’s brought together work that reflects the ongoing debates and struggles to control women's bodies. We are looking forward to the opportunity to present this exhibition in Target Gallery.”
About the Artists
Allana Clarke is a conceptual artist working in video, sculpture, installation, and performance. She has completed residencies at the Skowhegan School of Painting & Sculpture, Madison, Maine; The Vermont Studio Center in Johnson, Vermont; and the Ordinary Projects in Chicago. At Maryland Institute College of Art, Clarke was the recipient of the Toby Devan Lewis Fellowship, Skowhegan School of Painting and Sculpture matching fellowship and the Peter W. Brooke Fellowship. She also was awarded the Vermont Studio Civil Society Fellowship. She holds a master’s of fine art from the Mount Royal School of Art at MICA and lives and works in New York and New Jersey.
Lauren Kalman is a visual artist based in Detroit, whose practice is invested in contemporary craft, video, photography, and performance. Her work has been on view at the Renwick Gallery, Museum of Contemporary Craft, Contemporary Arts Museum Houston, Museum of Fine Arts Boston, and the deCordova Museum. She has work is in private and museum collections, including the Museum of Fine Arts Boston and the Renwick Gallery, and has been featured in the publications Hand + Made: The Performative Impulse in Contemporary Craft as well as 40 Under 40: Craft Futures. She holds a master’s of fine art from the Ohio State University and participated in residencies at the Corporation of Yaddo, Virginia Center for Creative Arts, and Santa Fe Art Institute. In addition, she has received grants from Ludwig Vogelstein Foundation, Puffin Foundation West, and ISE Cultural Foundation. She has taught courses at Brown University and the Rhode Island School of Design and is currently an assistant professor at Wayne State University in Detroit.
Carolina Mayorga has received awards in Colombia and the United States. Her work is represented in private and public collections including the Art Museum of the Americas and the National Museum of Women in the Arts in Washington, D.C.; Andres Institute of Art in Brookline, New Hampshire; and Kronan Sculpture Park in Sweden. She participated in the Fifth Annual Sculpture Symposium of the Andres Institute, the Lulea Winter Biennial in Sweden, and the 4th International Sculpture Symposium in Sweden. Her work has been reviewed in publications in Colombia, Sweden, Spain, and the United States including in The Washington Post, Washington City Paper, Baltimore City Paper, Winston-Salem Journal, The Nashua Telegraph, The Union Leader, Norrländska Socialdemokraten, and Norrbottens-Kuriren.
About the Curator
Based in Washington, D.C., Kayleigh Bryant-Greenwell is a curator, writer, and arts advocate. She explores the intersection of women, arts, and social change through her role as public programs coordinator with the National Museum of Women in the Arts. She has curated shows in conjunction with Project 4 gallery, VisArts, and The D.C. Arts Center in the greater Washington, D.C. region, as well as Peephole Cinema in San Francisco and CUE Art Foundation in New York. She strives to advance the careers of local artists and also developed a professional development seminar as well as residency program for local emerging artists in the Greater D.C. metro area. An arts writer, her work has been featured in The Washington Times,, CBS, Brightest Young Things, and Plinth, among others. Bryant-Greenwell earned her bachelor’s in art history from the University of Maryland, College Park and her master’s in museum studies from the George Washington University.

Wednesday, August 24, 2016

Open Call for Mexican Artists

Deadline: August 26, 2016.

Méxtasis is an open call for Mexican artists to present their work in Bushwick, Brooklyn, New York during Bushwick Open Studios. The project aims to present a new perspective on Mexican contemporary art, one that goes beyond cultural stereotypes and offers a new platform of visibility and cultural awareness for a country that is so present in debates surrounding politics and immigration but not enough discussed in relation to art and creativity.

The open call is open to artists of Mexican nationality regardless of their age or country of residence.

Selection announcement: August 29, 2016.
Exhibition (during Bushwick Open Studios): September 30 – October 2, 2016.

Full open call and additional information: Please apply directly through website. For additional information please inquire to

Opportunity for Photogs

Deadline: September 4, 2016

Hillyer celebrates Fotoweek DC with FORMAT, a small works show featuring photo-based art. All work must be under 10" in any one directions (inclusive of frame). This exhibition will be juried by DC-based photographer and curator, Laila Abdul-Hadi Jadallah.

Artist Notification: October 12th.
Exhibition Dates: November 4-December 18.
Opening Reception: November 4th, 6-9pm.
Entry Fee: $20 for members / $30 for non-members.
Awards: A Best in Show award will be given in the amount of $100.


Tuesday, August 23, 2016

Art Scam Alert

Beware of this mutant trying to rip off artists:
From: mike Evans <>
Subject: artwork is needed
Date: August 22, 2016 at 6:12:27 PM EDT
My name is Mike Evans from Washington DC. I was looking for some artwork online and i found your contact while searching. I will like to purchase some of your work for my wife as a surprise gift for our 20th anniversary.Please kindly send pics and prices of some of your art which are ready for immediate sale within price range $500- $5000, i could be flexible with price. So i will hope to hear a lot more about any available piece in your inventory ready for immediate sale.

Thanks and best regards,

Monday, August 22, 2016

The curious case of Cristina Arreola, Ryan Lochte, and cultural brainwashing

Ryan Lochte Cuban Mom meme
I know of no one on the planet who defends the disturbing Rio Olympics behavior of 32-year-old American swimmer Ryan Lochte Aramburu.

He deserves all the crap that came his way as a result of his hooligan behavior, and he deserves the probable loss of millions of dollars in endorsements that he flushed down the toilet, along with drunkard's urine, that fateful night in Rio.

Note to Lochte's former sponsors (Speedo, Ralph Lauren, Airweave, and Gentle Hair Removal): Transfer the sponsorship to the amazing and history-making Claressa Shields!

Back to RLA: He also deserves the "cocotazo" (Cuban slang for getting hit on the head with the knuckles) that his Cuban mom hopefully gave him when she found out that Ryan had lied to her, and then to all of us.

He even deserves the opinionated racial blame aspect that came out of this boorish incident, dealing with the "white entitlement" angle surfaced by the question (asked first by Bomani Jones) of how different the worldwide reaction would have been had these athletes been black.

That's all understandable and clear.

But then enter a mind blowing piece in Bustle by Cristina Arreola, which was subsequently picked up by NPR's Leah Donella, and is thus forever destined to fill the sensitive minds of its readers with some of the most convoluted and erroneous information that mixes (and confuses) race with ethnicity and with nationality, that has been ever written. 

Ms. Arreola is the Books Editor at Bustle, and after reading several of her pieces, I can tell you that she's a really good editor!

In the past, I've written extensively on how Americans - and having lived many years in Europe, the Middle East, and Latin America, apparently no one else in the world - often confuse nationality with race, and more often with ethnicity. 

This is often most common with people with Latin American roots, and usually it is Americans of Latin American ethnicity whom are the most confused. The probably very nice Cristina Mari Arreola is very confused, and unfortunately, she's now managed to spread her confusion to all of her readers, and the ones that NPR reached by echoing her erroneous conclusions.

Let me try to untangle this.

Imagine there are two brothers in a small village in Sweden of ancient Nordic stock straight out of a Gunther Grass novel, and they marry two local Swedish girls. The two young Nordic couples decide to migrate to the New World. "We're going to the United States," declare Sven and Annika. His brother Lars looks at his blue-eyed and very pale wife Uta and says, "Uta and I are moving to Argentina!"

They hug at the airport and take flights to the New World. Two years later, Uta gives birth to a healthy young boy somewhere in Buenos Aires and they call the Argentine boy Martin.  A few days later Annika gives birth to a healthy little girl in Seattle and they call her Anna.

According to the Cristina Arreolas and Leah Donellas of this world, Martin is a "person of color", while his American cousin Anna is a white person.

Convoluted uh? From reading Arreola's piece and Donella's subsequent endorsement, it seems to me that this scenario would probably throw these two, I suspect, very nice ladies for a cultural loop.

In her piece "Ryan Lochte's White Privilege Is Way More Complicated Than You Think", which is has already spread cultural ignorance all over Al Gore's Internet, Arreola goes to extremes to point out that "Lochte is a white-passing person of color, which doesn't excuse his actions, but instead, makes them infinitely more disappointing." 

She arrives at this conclusion based on the single fact that his mother, Ileana Aramburu, was born in Havana, Cuba. Thus, in her mind, Lochte cannot possibly be "white" because of the geographical location of his mother's birthplace, regardless of her race. That's her on the right... cough, cough. It is also clear that Arreola has no idea of who the Aramburus are in Cuban history, and their place in pre-Castro Cuban society, otherwise, she would not have made this absurd assumption.

Back to point, according to Arreola, Lochte is not white because her mom (that blonde, blue-eyed, white-skinned lady in the photo above), is "Cuban" and thus can't possibly be white... cough, cough.

If Lochte is not white, then what race is he?

I suspect that Arreola's answer would be (after showing a little shock that someone is actually asking her that question) "... well, his mother is Cuban!." She wouldn't answer the question directly, but point to Lochte's mom's birthplace and nationality. Her brain wants to say that Lochte's race is "Latino", but even Arreola is not sure of that answer.

"Are you saying there's a separate Cuban race?" that mean questioner would ask, forcing the issue.

Arreola thinks about it for a second. "Well... no, but Cubans are Latinos," she tries to answer in a round-about away...  skirting the real answer floating in her knowledge base.

"Ah!," the questioner would obnoxiously point his index into the air. "So you're saying that there's a Latino race!"

Arreola would now look perplexed. It is clear that no one has ever discussed or challenged her on this. In her mind, she has accepted and believed the inherently racist precept of "whiteness" as solely American or European.

Without knowing it, and certainly without meaning it, Arreola has been endorsing and facilitating a racist precept... most precepts of "race" are.

But why and how? This probably quite nice lady, I'd hope has no issue understanding and accepting the other side of the coin; she knows that there are millions of black Latinos, in fact more black people in the nations of Latin America and the Caribbean than the United States (only 4% of all Africans brought in chains to the New World came to the USA).

But I suspect that she would raise an eyebrow when told that there are also more people of Asian ancestry in Latin America than in the United States.

And more people of Native American ancestry in Latin America than in the United States.

By Arreola's faulty logic (and by her faulty logic alone, not her actual beliefs, which based on her article, may be a little twisted around the axle when it comes to this issue), Roberto Clemente, Celia Cruz, and other Spanish-speaking black people from Latin America are not "black", and Peru's former President Alberto Fujimori is not "Asian"- their race is the Latino race.

Arreola's cultural brainwashing, plus I suspect a lack of interaction with people from Latin America (not USA Americans of Latin American ancestry), have resulted in a jumbled up misunderstanding of what Latin America is, and who Latin Americans are.

She has never walked the streets of Trelew in Argentina and heard Welsh and Scottish Gaelic spoken on the cafes and avenues of that city. She has never hiked the altiplanos in Bolivia and needed a translator to translate to Quechua or Aymara. She has never been to one of the giant coffee plantations around São Paulo in Brazil, and heard Japanese spoken all over the fields.

I suspect that her vision of Latin America -- much to her chagrin once she discovers how wrong she is -- has been painted mostly by Hollywood's past racist characterizations of Latin America in their Latino movie stereotyping. And by divisive politicians, seeking to label and separate, a huge multi-hued and multi-cultural, and multi-racial group of Americans of Latin American ancestry.

In erroneously trying to paint (pun intended) Ryan Lochte Aramburu as a "person of color", she also inadvertently does a great disservice to all the true Latin American people of color who are brutalized, marginalized, and discriminated against in Latin America, such as the native indigenous people in Mexico and most of Central America; black people in Brazil (in the months leading to the Olympics, hundreds of black Brazilian men were killed by police in Rio province alone), and in perhaps the most racist government in the Americas: Afro-Cubans in Cuba.

But I suspect that Ms. Arreola has a USA-only lens, and I would even guess that she's culturally deficient in Latin America's immensely diverse cultures. I would conjecture that she has only seen Latin America, and Latinos, from the American lens of her own upbringing and teaching. This is a rather disorienting issue for a former editor of Latina magazine, where one would think that she would have met people from all over Latin America and thus adjusted the probable mis-education and brain washing of her youth.

This is a photo of Ms. Arreola with RLA, where the very pretty and blue-eyed Ms. Arreola poses along the handsome blue-eyed swimmer and jokes "Me and my husband" ... cough, cough.

Sorry Ms. Arreola, you can't trade Lochte from the "white team" to the "people of color" team - the hooligan behavior that he committed, and the subsequent cover up (and later apology) may have been evidence (as some suggest) of white entitlement for the simple fact that Ryan Lochte Aramburu, just like his suffering Cuban mom, and his American dad, are all white.

Personally, I think that RLA metio la pata.