The below info thanks to Malik Lloyd of Find Art Information Bank

Government Opportunities for Artists

For years now in the Washington DC area, and perhaps in yours as well, there has been this commercial on cable TV about free money available from the US Government. Although I never gave much credence to the ad, the man featured in the commercial has always amused me.

He dons a suit, a throwback to the Joker seen in the "Batman and Robin" TV show. He is Matthew Lesko and walks on the Washington Mall excitedly declaring that the government is giving away free money--to get a better job, to begin a new career, to get an education, to start or expand your own business, etc. Most people, like me, however, amused probably view his claims with a little suspicion. Since I like being amused, his ads usually capture my attention. The catch is to purchase his book and a person's life could change for the better.

Recently, I borrowed this book from a friend "creatively" titled "Free Money to Change Your Life." Actually, I discovered that there is information beneficial to artists. For example, it includes the amount of grants that state arts programs award annually, as well as contact information for each state art agency.

The chapter, "How Artists, Designers, and Photographers Can Get Freelance Government Contracts," list artists whom received contracts along with the amount of the contract. Nearly thirty government agencies utilize freelance artists. The Department of Labor hires outside art contractors to do editorial illustrations, book cover designs, stationery and newsletters. The U.S. Postal Service employs freelance artists to support many of their projects, including posters, brochures, and stamps. The Food and Drug Administration contracts graphic artists and designers for editorial illustrations, exhibit designs, posters and photographic projects. The U.S. Geological Survey awards about $100,000 in graphic arts contracts annually. Even the IRS gets in on the act, spending approximately $650,000 annually on contracts with various artists. Not only do we learn the types of artwork agencies use, but the book provides gives step-by-step instructions on how to obtain freelance work from the government, including contractual points of contact and application deadlines.

In addition, there is information on how to obtain contracts in video production and voiceovers as well as for freelance writers and editors.

Based on the information read, I would say that his book is an excellent start for anyone considering freelancing for the government. However, with a $60 price tag, I am pleased that I borrowed "Free Money to Change Your Life." I was informed by a friend that "Lesko is a sharp and funny guy who has made a living for at least 20 years by compiling government information buried in public documents and enthusiastically sharing it with people in a way they can really use it."

The original documents aren't secret, they're just boring. I think Lesko would be delighted if someone saved $60 on his book by borrowing it from the Government - from the local public library.

You can also order the book from Amazon.

Some think it's cheesy when DC does it, but every major city is doing it... Anyway.... New York City has a call for artists for a public art project....

Big Apple Fest: Artists to Decorating Oversized Apple Sculptures.

Deadline: May 1, 2004

Big Apple Fest is inviting artists to submit designs for decorating more than 300 oversized apple sculptures that will be on display throughout New York City this summer as part of an art project that has been well-received in many other cities (such as DC and LA) and which benefits charities in Gotham.

There are two versions of the 4-foot diameter apples: opaque fiberglass, which allows the artist to decorate the skin of the apple; clear acrylic, which allows the artist to create a 3-D image inside the apple as well as decorate the exterior. Apples sponsored by corporations, civic groups, cultural institutions, and other organizations and designed by professional artists and school children, will be on display from mid-August through mid-October.

Professional or amateur, youth, or adult-all are welcome to create imaginative designs, celebrating the international spirit of New York City. Artists whose designs are selected for exhibition will be paid a $1,500 honorarium. After the conclusion of the exhibit, Sotheby's will hold a live auction of the Big Apples; a portion of the proceeds will benefit the Police Athletic League, City Harvest, and the NYC & Company Foundation.

For more information, including artist submission requirements and sponsorship opportunities, contact the managing director, Jon Clay, at 212-599-0409 or visit the website at www.bigapplefest.com.

Call for Proposals...
From Find Art
Deadline: May 1, 2004.

The Hoyt Institute of Fine Arts is reviewing exhibition proposals for their 2005-2006 season. Solo and Collaborative Exhibitions, 6-8 week exhibitions. Open to US resident artists 21+ of Mid Atlantic States including PA, OH, NY, NJ, MD, DE, and Washington DC. 30% Commission. Insurance. Send SASE for a prospectus to:
Bob Karstadt
The Hoyt Institute of Fine Arts
124 E Leasure Ave.
New Castle PA 16101
724-652-2882

P.S. A lot of these announcements (and more) can be delivered to your email address (free) by just signing up for them. To sign up.... visit: Find Art

Wanna go to an opening tomorrow?

Then head to Georgetown to Hemphill Fine Arts, where George has "Vote" - a show of Presidential Campaign Photographs featuring work by Abbas, Bob Adelman, Eve Arnold, Cornell Capa, Raymond Depardon, Burt Glinn, Erich Hartmann, Hiroji Kubota, Constantine Manos, Wayne Miller and Alex Webb and also "The Hole Shebang" - with Eduardo Del Valle and Mirta Gomez's works on the subject of the Florida Ballots from the 2000 Presidential Election.

The opening is from 6:30 - 8:30 PM, tomorrow, April 21st. See you there and don't forget - if you want to write about/be part of/know about the "DC art scene" then you have to do things like actually go to galleries and not just look them up on the internet...

Salvador Dali once said: "If you can't paint well, then paint big."

It's about photograpy, but size matters when it comes to art. Read the NY Times on the subject.

I call it acreage art.

Acreageism...

Opportunity for artists...

April 22-24 - All artists are welcome to join Maryland Art Place (MAP) for its 8th Annual Free-Hung Exhibition, Silent Auction, and Gala Out of Order.

All 2-D and 3-D artwork is welcome, as well as jewelry, ceramics, media, etc. One original work per artist with maximum dimensions of 5’ x 5’. Work must be ready to hang. MAP provides all hardware for installation. Work must be priced to sell!

Proceeds will be split 50/50. Hanging dates and times: 48 Straight Hours (beginning 9am Thursday, April 22, ending 9am Saturday, April 24). $10 for participating artists. For more details: Visit their website or call 410-962-8565.

Ferdinand Protzman, the Washington Post's former galleries critic will discuss his new book and sign copies at Fraser Gallery Bethesda on Sunday, April 25, 2004 from 1-3 PM as part of the Bethesda Literary Festival.

The book is Landscape : Photographs of Time and Place and signed copies will be available at the gallery.

Among the photographers included in the book are masters like Ansel Adams and Alfred Stieglitz, along with contemporary photographers, such as Richard Misrach and Sally Mann.

Richard Polsky on Why Some Artists Never Make It Big.

Henry Allen, the Washington Post's Pulitzer-prize winning critic (and one whom I wish would write more often about the visual arts) has an exceptional article in today's Sunday Arts discussing salon-style hanging and the Renwick's Grand Salon.

A few years ago I curated a huge show for the Athenaeum in Alexandria. It was "Survey of Washington Area Realists." We hung nearly 200 artists in that beautiful Greek building - it was a terrific show that showcased the work of nearly every painter in this region, both well-known and emerging working in a realist style. It was (and remains) the Athenaeum's best-attended exhibition.

It was a massive undertaking to fill that space, floor to ceiling with work, but in the end it was such an impressive sight, that I truly understand Allen's words in today's piece.

The Soviet Socialist Republic of Montgomery County, which is apparently already one of the highest per capita taxed counties in the entire United States, and also has the highest income tax allowed under the law, and without a doubt one is of the richest counties in the country, still cannot find enough money to fund everything that is on the slate, and not enough money to fund the Arts and Humanities, of course.

Leave it for private enterprise to come to the rescue of the Arts and Humanities in one of the nation's richest counties. The county's Commissar and his Politburo has proposed an Arts and Humanities Partnership Fund, which would require the already heavily-taxed private sector to match county dollars.

Well, they have: Mr. John Hendricks, Founder and Chairman of Discovery Communications, Ms. Cheryl Kagan, Executive Director of the Carl M. Freeman Foundation and Bill Rickman, Jr. have pledged their support for the $2.5 million proposed Arts and Humanities Partnership Fund. Mr. Hendrick's and his wife Maureen pledged $1,000,000 and the Carl M. Freeman Foundation pledge their support of $100,000 toward this effort.

I applaud them, but still question why one of the richest and highest taxed counties in the entire country (and they've already maxed out what they can legally tax residents' incomes), still operates at a deficit when it comes to the arts. I also want to know: where's your contribution Lockheed Martin? Where's yours Comcast? Where's yours Chevy Chase Bank? And so on with many of the County's giant (and rich) corporations.

And although the county has a well-run Arts and Humanities Council, political shananingans common to these Soviet-style county/states still happen - even when it comes to the Arts.

Both the County and its wealthy residents, and its many wealthy corporations should be ashamed that in one of the nation's richest counties there's not a single major visual arts center (although theatres seem to be popping up all over the place).

This is especially shameful in the Bethesda-Chevy Chase-Potomac trangle - one of the highest concentrations of income-earners in the world, and yet not a single true Visual Arts Center anywhere in that area, and yet Rockville has one and so does Germantown.

The Blackrock Center for the Arts in Germantown is an interesting example of perhaps how to worm your way into county funding. It was initially established as a non-profit, private organization and built with a loan from Sandy Spring Bank.

It apparently almost immediately ran into funding problems (which at least to me means that they irresponsibly decided to build it before they had the funding to actually run it) and immediately went to the Montgomery County Politburo (I mean Council) for help.

So essentially, a private non-profit organization decided that Gaithersburg needed this Arts Center, applied and received a loan, built the Center, and then faced fund-raising difficulties that threatened to shut down the newly opened center right from the start.... follow me so far?

So then the staff of the Center cries for help from the Montgomery County Council, who then votes to purchase the Center and although BlackRock will remain a private organization, the county will own the building and assume maintenance costs, similar to an arrangement with Strathmore Hall in North Bethesda (and no, this beautiful house is not what I mean as an "visual arts center").

If I am wrong about any of the story so far, I welcome a clarification from either the Politburo or BlackRock executive director Nancy Petrisko.

So, Potomac-Chevy Chase-Bethesda: Do you get the model to follow?

Georgetown University is hosting a "Festival of Fine Art." Below are some interesting panels and performances - unless otherwise noted, they are all at:

New South Building, Riverside Lounge
Georgetown University
37th & O St.
Georgetown, Washington DC

Monday, April 19th - 6:30-9pm

Panel Discussion
6:30-7:30pm
“Georgetown University and its Relationship with the Washington DC Art Scene”

Panel
Dr. John Brough, Professor, Philosophy
Calvin Custen, Professor, Studio Art
Kathryn Cornelius, Graduate Student, Artist
Jessica Eagan, Graduating Senior, Fine Art
Martin Irvine, Assistant Professor, Gallery Owner
Stoff Smulson, Alumnus, Artist

Performance 8-9pm
“Mythology Machine / Chain Value” Kathryn Cornelius and collaborators

Art Exhibit
Monday April 19th – Friday April 23rd, 2004 12-6pm
Work by Students, Faculty and Alumni

"Theory Will Eat Itself: Notes on Postmodernity from A - Z." A performance by Kathryn Cornelius.

Thursday, April 29, 2004
7:30-9pm
Georgetown University
Reiss 103 Lecture Hall

Some comments: In the decade that I have been writing about the DC art community, owning two galleries, being a member of the Art Dealers Association of Greater Washington, been a local artist, a member of the DC Commission on the Arts and Humanities Advisory Panels and generally deeply involved in our arts community, I cannot recall ever hearing, dealing, being involved, or reading anything dealing with Georgetown University and art.

In fact, if it hadn't been for the initiative of Kathryn Cornelius, who emailed me - I wouldn't have heard about this "Festival of Art." In fact there's nothing in the University's website about it (at least that I can find).

I applaud the panel “Georgetown University and its Relationship with the Washington DC Art Scene” - but .... who in that panel is not from Georgetown? Shouldn't there be someone in the panel from... "the Washington DC Art Scene?" Seems to me that by having an all-Georgetown panel discuss the university's relationship with the art scene around it, and not really having a couple of outsiders to discuss it from an outsider perspective, and hopefully provide some constructive criticism, that the panel is a bit tunnel-visioned.

In fact (and I could be wrong since I do not know anyone else on the panel), the only people in that panel that (I am aware) are in some sense "involved" in the DC arts scene are Kathryn Cornelius, who currently serves as a Contemporaries Steering Committee Member for the Phillips Collection and also works at G Fine Art Gallery in Georgetown (the neighborhood - not the University), and Martin Irvine, who serves on the Board of Directors of the Contemporary Museum in Baltimore and on the Board of the Friends of the Museum of the Americas in Washington, DC and recently opened a nice gallery in the larger front room of Troyer, and Stoff Smulson, who was one of the key founders of Decatur Blue, which unfortunately folded from its location in the Shaw neighborhood, although they remain a vibrant presence in DC (In fact, another one of the founding members (Jose Ruiz) was the winner of our "Young Artist" award which is part of the Trawick Prize).

But they are all "Georgetowners."

Anyway - I am glad that Georgetown is doing this - and, from an outsider's perspective: This university needs to kick-start its "relationship with the Washington, DC art scene." It doesn't really exist now. If it does, then I am not aware of it, and that by itself - especially since I've co-owned a gallery in the University's neighborhood since 1996, is an alarming issue.

This is not just a slam against Georgetown - in fact one can practically fill in any of our area's universities art programs and the discussion on what they all do for our area's art scene could probably be generalized as marginal, although some are better than others. A while back I suggested a way in which our area's universities could become a driving force in our art scene.

Nobody asked me, just my opinion....

P.S. - For all in Georgetown.... tonite is the Georgetown Canal Square Gallery openings... come by and I'll buy you all one a glass of our world-famous Sangria.

Tomorrow is the third Friday of the month and thus the Canal Square Galleries (31st Street NW and M Street in Georgetown) will have their monthly openings. We will have an exhibition of new found object sculptures by area sculptor Adam Bradley.

This is Bradley's third solo show with us; we started showing him while he was a student at GMU, later while he was an MFA candidate at MICA and now that he's an Adjunt Professor at GMU and NVCC.

The openings go from 6-9 PM and are catered by the Sea Catch Restaurant. They are free and open to the public.

See ya there!

The Smithsonian American Art Museum has elected James F. Dicke II of New Bremen, Ohio as Chair and Samuel G. Rose of Bethesda, Maryland as vice chair of the museum's Board of Commissioners.

Dicke is also a respected artist and photographer who exhibits locally with the Ralls Collection in Georgetown. It's always good to have an artist in charge of groups such as this very important board.

Kara Walker has won this year's Lucelia Artist Award, worth $25,000. The award is a Smithsonian's prize, funded by the Lucelia Foundation, a New York-based institution devoted to supporting the visual arts.

You mean you've never heard of this art prize managed by one of our local museums?

"Walker is the fourth artist to receive the Smithsonian's prize, funded by the Lucelia Foundation, a New York-based institution devoted to supporting the visual arts. Her selection is in line with previous winners, all of whom have been on the challenging end of contemporary art. Jorge Pardo, the 2001 Lucelia winner, makes slick design objects he presents as art; Liz Larner, the winner in 2002, has shown photographs of petri dishes full of molds; Rirkrit Tiravanija, who won last year, is a performance artist whose work often involves cooking and serving food."

I'd love to know who the "jury of experts" in the committee to select the award winners are. Congratulations to Ms. Walker.

This $25,000 Lucelia Art Award is a national level prize - locally, DC, MD and VA artists can compete for the $14,000 Trawick Prize.

Vanity galleries

A vanity gallery is an art gallery that "rents" its space to artists in order for the artist to have a show. Thus, the main driver in having a show at a vanity gallery is not necessarily the quality of the artwork, but the artist's ability to pay the gallery to host his/her artwork.

New York is crawling with vanity galleries, and the vast majority of European galleries are vanity galleries. In the US however, vanity galleries are often looked down upon by everyone, since they are essentially a "rental" gallery. A knowledgeable art critic or curator knows which galleries in his/her town are vanity galleries, and often ignore them, much like book critics ignore most self-published writers, who use "vanity publishers."

An interesting fact, at least here in Washington, is the fact that I have seen "reputable" galleries which sometimes cross the line and become "charge the artist" galleries or vanity galleries once in a while, as the mighty dollar (or lack thereof) calls.

Sometimes, at Fraser Gallery, we'd get a phone call from an embassy, or from the agent of a Hollywood actor who's also a "painter" or "photographer," or from an individual "artist," and they'll ask us how much would we charge to host a show by their "artist."

When we'd inform them that we do not rent the gallery for artists to have shows, they'd thank us and hang up. Then a few months later I'd see that "Hollywood artist" or "embassy artist" exhibiting in one of the area's "reputable" art galleries, and immediately recognize that - at least for that month - that gallery is making ends meet by renting the space to someone.

While I understand that most galleries are labors of love, and often run by the skin of one's teeth, I still find it somewhat distasteful, and dishonest - to appear (on the surface) to be a gallery that shows work based on merit, while at the same time showing work based on an artist, or a corporation's ability to pay.

And it's not just commercial art spaces. Several years ago, the WCP profiled a then a local non-profit, which inadvertently admitted charging a multinational corporation a hefty fee to put up an art show at the "reputable" non-profit art spaces.

One can even make the case that even some museums sometimes cross the line and become "vanity museums."

A few years ago I was astounded when a Culture Minister from one of the embassies in DC told me that they had finished a deal with a local museum to host the first ever retrospective of one of that country's artists for a fee of four million dollars! To him, it was "business as usual," while to me it was distasteful and dishonest and left a bad taste in my mouth about that museum for the longest time.

Do you want to know what Magdalenian Art is?

Charles Downey, at Ionarts, has the best review that I've read so far on The Passion of The Christ.

A strategy for saving money on framing costs...

According to some stats I read a few years ago in a framing trade magazine, the average cost of framing in the Greater DC region was $67 an hour. It’s probably more than that now.

Other than time, framing two-dimensional work is often the most expensive step in organizing an exhibition (to the artist), and it’s astounding how little most art schools prepare students (and faculty) for avoiding the trap of spending a lot of money on framing.

There are some steps that artists can take to significantly reduce the cost of framing. Here I will try to list the most common mistakes, how to avoid them, and more importantly, how to get your artwork framed for a lot less than taking it to a framing shop to get it framed.

First and foremost: Prepare! Do not leave your framing to the very last minute. Having said that, I know that most of you will leave the framing to the last minute and then panic – go to your neighborhood framing shop, and drop way too much money to get custom frames made for your artwork. If you can afford it, and the price history of you artwork can sustain it – then skip this posting. But if you want to save a lot of money on framing, then prepare!

Do not, under any circumstances let the gallery or a second party take care of your framing unless you have the full costs ahead of time and in writing. Otherwise you will get stuck at the end of your exhibition with a framing bill rather than a commission check.

First of all: If (and only if) you can, work in standard sizes. Most photographers and painters already do. But unless your compositional demands call for it (like mine do), avoid working in one of a kind sizes. American and European standard sizes are different, but US sizes cover a huge range of sizes, such as 5x7, 8x10, 11x14, 12x16, 20x24, etc. If you can work within one of those sizes – i.e. do your watercolor on a sheet in one of those sizes, or print your photo on paper that size, etc. then half the battle is won, as then you should be able to buy ready-made frames that will automatically accommodate your matted work. This is important, as a good frame from any craft store, or from any art catalog, is usually a lot less than having one built from scratch! For example, a 16x20 metal molding frame, back metal brace/clips, wire, glass, pH-balanced acid free mat, hanging wire and acid free foam core backing is anywhere from $20 - $30 in any art catalog or locally from Apex in Alexandria. Having the exact same frame hand-made in a frame shop is around $100.

If your work, because of composition or whatever, doesn’t fit into a standard size mat or frame, then another tactic is to go and shop for a ready-made frame that is larger than your artwork – at least three inches all around the diameter of the artwork. Then take that frame and your artwork to a frame shop and have them cut the mat for you. Now you are only paying for the labor and materials to cut a mat – not to build everything from scratch.

If you can’t find a frame in a shop that fits your unique sizes, then shop through art supply catalogs and have them make you one. The savings over storefront framers is still significant. I personally buy a lot of frames from this place. Once you sign up, you get their catalogs as well, and then I hit them when they have a sale going on! From any supplier you can order moldings in one inch increments, so if your work is 18x30 inches, then you'd order a set of 18 inch molding, a set of 30 inch molding and it will be delivered with the hardware needed to assemble it - all you'll need is a screwdriver. Then visit your local glass shop for a piece of glass.

Because most solo shows involve a larger number of works, you should start thinking way ahead of time as to the number of frames that you will need. If you can decide that you will need twenty frames for your show, and you know what size they will all be, then go shopping for ready-made frames in any of our local area arts and crafts stores, or other stores that stock frames, such as IKEA or Bed, Bath and Beyond. Once you find a frame that you like, turn it over and see who makes them. Write the manufacturer’s information down, and when you get home, call the manufacturer of the frame and place an order for the number of frames that you will need. You are now buying the frames wholesale and saving yourself the entire store mark-up!

Don’t let the process of establishing an account with the frame manufacturer scare you. They may require an Employee Identification Number (EIN) – you can give them your social security number-- and they will have a minimum purchase (usually $250) – but by the time that you purchase 20-25 frames, that will be easy to meet. All you are doing is ordering the frame directly from the manufacturer rather than buying them through a store – it’s perfectly legal and saves you a considerable amount of money.

If you work on canvas, you may not even need to frame them. Ask the gallery owner – a lot of galleries will be happy to hang canvasses that are “gallery dressed.” That means that the edge of the canvas wraps to the back and that’s where it is stapled – rather than the side. We actually prefer to show canvas paintings that way.

Do not cheapen your artwork by choosing cheap materials. At all costs avoid using acidic mats (use only pH-balanced, acid free mats) and do not use cardboard to back the work – use acid free foam core. Using cheap materials not only damages the work eventually (as the acid migrates to the artwork) but also tells a potential collector that you are not serious as an artist to properly display your work. I am shocked at the number of badly hand-cut mats in acidic mats that I see in galleries all over the country – a lot of time is just plain ignorance of the business side of the fine arts – and the importance of presentation of artwork in a professional environment – such as a reputable fine arts gallery should be.

If you are an artist that moves a lot of work a year, then you should seriously consider learning how to cut your own mats. A sheet of museum quality archival 32x40 inches mat board is around $6-8 and you can get four 16x20 inches mats from it. To have one 16x20 archival mat cut in a frame shop will be around $20. You can buy a decent mat cutter for around $150, and it comes with a video to teach you how to cut mats.

The bottom line is that minimizing framing costs not only reduces the amount of money that an artist has to invest in offering a show, but also reduces the price point of the artwork – a very important issue, especially for young, emerging artists without a sales history track.

OK, OK no more emails about my posting on how artists can save money on framing their artwork.

Rather than answer each one individually, I will post the suggestions here later. By the way, I teach that as part of the Success as an Artist seminars. There's one coming soon (date will be announced soon) - they book up almost immediately and there's already a waiting list.

Check later and I'll post a series of steps that will reduce your framing costs by 80%.

I've received a deluge of emails (in addition to the usual ones trying to sell me Viagra, Cialis and dates with bored housewives) from people who want me to post more on Bad Things Galleries/Artists do to each other.

OK.... here's some more:

Bad Things Galleries Do to Artists: A young emerging artist approaches a "gallery" that is also a framing business. The "gallery" agrees to give the artist a show and has the artist deliver the work to the place. The gallery tells the artist that they will do the framing. At the end of the show, the artist expects a check from the gallery for his 50% commission on all sales, but instead gets a bill for the framing. This is because the "gallery" has framed all of the artist's works - but maybe only 2-3 pieces have sold - and yet the artist is stuck with the framing bill for all of the work. This is another reason why artists must have a written contract prior to exhibiting work, specifying who and to what standards the work must be framed to. And, whenever possible avoid galleries that "offer" to frame your work as part of the exhibition. The average cost of framing artwork in the DC area is $67 an hour just for labor! If are an artist that has a show coming, you can plan your framing ahead of time and save about 80% of what a framing shop or store would charge you by following a simple set of steps... if you want to know what those steps are, email me.

Bad Things Artists Do To Galleries: A gallery offers an artist a show, and trusting the artist, operates on a handshake, rather than a written agreement. As most galleries plan their shows months in advance, the gallery plans the year several shows in advance and expects the artist to deliver the artworks for the show at the specified date. The gallery keeps in touch with the artist, who assures the gallery that everything is on track. A few months before the show, the gallery requests some images for publicity purposes, which the artist dutifully provides. However, a week before the show, the panicked artist calls and says that "he doesn't have enough work for the show" and, by the way, that he has also already sold some of the works that he had provided images to the gallery earlier (and which the gallery has used to advertise the show). On the night before the show opening, the artist shows up with a lot less work than expected, and the gallery discovers that the work is presented in less-than-professional standards: badly-cut acidic mats backed by brown cardboard, scratched framed and scratched plexiglass, and canvasses with nailed on pine boards. An hour before the opening, the artist is still finishing up painting touches on some of his oil paintings. As a result, some of his pieces are still wet at the opening, and someone accidentally brushes up against one of the wet paintings and smears it. The scandalized artist makes a scene, and later sues the gallery for "failing to protect his painting." It all goes to court, to great expense to the gallery and the artist, until the judge throws the case out as ridiculous. The artist is blacklisted by art dealers and never shows in town again.

By the way.... the above is a true story and happened to one of our Canal Square neighbors.