Fine Lines Paint Jam

On April 30th from 12-7pm at 514 Rhode Island Ave NE, a 900 ft. long wall will be turned into a canvas divided between 100 artists from around the country. The painting will take place amid a backdrop of live music, free arts tutorials, art galleries, a bunch of other local arts organizations, food trucks, arts exhibitions, and a photo competition with a prize of $500.

Admission is free.

They're essentially turning an empty lot into a free playground for the arts and they’re welcoming other arts orgs, cuultural orgs, and vendors ranging from SpacyCloud and RedBull just to name a few.

More details later.

The Argument

For TBT... I was 14 or 15 when I did this piece...


These two women lived together in my neighborhood in Brooklyn; they were Roma people and thus we were always told to stay away from them by all the neighborhood mothers - of course, we did the opposite and they were my friends, and always seemed very mysterious to me as a teen.


They had no furniture in their apartment, slept in mattresses on the floor, always seemed to have a million people passing through, etc.


I did this piece from memory after dropping by one day and found them yelling at each other in their language... the naked one used to actually walk around the place nude in the summer (ahhh! the 70s), which was one of the main reason I used to hang around there... cough, cough





The Argument
c. 1970-1971, ink on paper, 16x20 inches
By F. Lennox Campello

USS Kitty Hawk "Big Wave"

This is why is takes a special kind of backbone to make an American sailor (and a metal lady of the sea)... And what's that helo doing there?

Does anyone know where the love of God goes. When the waves turn the minutes to hours… –Gordon Lightfoot, “The Wreck of the Edmund Fitzgerald" 

This Saturday: Meet the Artists' Closing Reception!

Show Dates: March 11 - April 23, 2016 

MEET THE ARTISTS CLOSING RECEPTION: Saturday, April 16, 2:00-6:00 pm

At 1429 Iris Street NW, Washington, DC 20012

ZENITH GALLERY Hours: Wednesday-Saturday, Noon-6 PM 

Featuring: Kim Abraham, Jan Paul Acton, Doba Afolabi, Mason Archie, David Bacharach, Andrea Barnes,  Bert Beirne, Harmon Biddle, Francesca Britton,  Lenny Campello, Katie Dell-Kaufman, Renee duRocher, Elissa Farrow-Savos, Patty Porter Firestone, Richard Fitzhugh, Robert Freeman, Carol Gellner-Levin, Cassandra Gillens, Julie and Ken Girardini, Margery Goldberg, Stephen Hansen, Len Harris, Chris Hayman, Philip Hazard, Tony Henson, Frank Holmes, David Hubbard, David Jackson, Hubert Jackson, Robert Jackson, Peter Kephart, Gloria Kirk, Joan Konkel, Michael Madzo, Chris Malone, Paul Martin Wolff, Donna McCullough, Hadrian Mendoza, Davis Morton, Reuben Neugass, Carol Newmyer, Tom Noll, Keith Norval, Katharine Owens, Emily Piccirillo, Alison Sigethy, Gavin Sewell, Sica, Ellen Sinel, Bradley Stevens, Charles Taube, Jennifer Wagner, Marcie Wolf-Hubbard, Mary Voytek, Curtis Woody, Joyce Zipperer and more!

Spitoidal Mucasoids

Spitoidal Mucasoids: When you brush your teeth, and then spit out the saliva + toothpaste mixture, and do not rinse it down the drain with water. Later on, as it dries up and becomes impossibly hard to chip away, it becomes a spitoidal mucasoid.


Try to Google that... I've just invented it.

Still astounding...

Even after all these years, the work of DMV artist Alexa Meade still astounds me...

Opportunity for Artists

Deadline: May 2, 2016


This is an Open Call for proposals for an exhibition in the summer of 2016 at Alexandria's Target Gallery.


This call is open to all artists from North America working in all visual media. Proposals for exhibitions by both individuals and groups will be considered. The jurors this year are Phil Hutinet and Victoria Milko.

Apply here. 


Target Gallery 105 N. Union St. Alexandria, VA 22314

Art in the New Plutocracy

Art is no longer the mere status symbol it was in the age of Morgan. Instead, as Cohen’s exploits show, art has become an instrument for generating wealth and political influence in the interests of an audacious plutocracy. In this sense, we are indeed being ruled by art in a way we have not been before, and its price now comes at a direct social cost.

Read the article here. 

DMVers: Go to Emulsion Opening Tomorrow!

You wanna know the definition of a hard working artist? 

DMV artist Judith Peck! 

She has work in three shows opening this Saturday, April 9 --- Emulsion 2016 at Gallery O on H in Washington, DC, at The Walker in Kansas, and the inaugural show at the Lemon Tree Gallery in Cape Charles, Virginia! 

Go Judith!

And now UVA wants to censor art...

And now it is UVA's turn to try to censor some artwork...

Some members of the University of Virginia community want a piece of art—a mural—censored, altered, or completely painted over because it depicts students and professors partying together.  

The behaviors of the fictional characters in the painting would likely violate Title IX, said UVA music professor Bonnie Gordon, a vocal critic of the mural, in an interview with newsplex.com. 

Details here. 

Campello at auction

Check it out here!

Artists' Websites: Rosemary Feit Covey

New website for one of the DMV's most talented artists!

Visit it here.

Jessica Chambers at ND of MD University

Downton Abbey Paintings

Like the Downton Abbey TV series? You you gotta see DMV area artist Marsha Stein's series of paintings on the subject.

See them here.

Gallery censored by landlord in Lafayette, LA

Nicole,
You have to take down the nude pictures you have in your gallery. Part of the agreement to rent you the space was to not display nude pictures.

So begins the email received by artist Nicole Touchet, an email "signed by a project coordinator with Property One Inc., the company that manages Gordon Square, the historic hotel-turned-office complex at the Jefferson-Vermilion intersection in the heart of Downtown. The UL Lafayette alumna had opened her eponymous gallery, Gallerie Touchet, in a small side space facing Vermilion Street 11 months before, hosting exhibitions of up-and-coming local artists including her own work."


Many times in the past I have taken the side of "he who owns the walls" when these sort of issues come out.


However, in this case, as this article points out, the "condition" (No. 5 on Touchet’s lease with Property One) doesn't say anything about nudes, unless Property One thinks that Touchet's loosely painted nudes are so hot that they'd cause a fire:

Lessee warrants and represents to Lessor that the Leased Premises exclusive of common area shall be continually used and occupied only for the purpose of general office use. Lessee shall conduct its business and control its agents, employees, invitees and visitors in such a manner as is lawful, reputable and will not cause any nuisance or otherwise interfere with, annoy or disturb any other tenant in its normal business operations or Lessor in its management of the Building. Lessee shall not commit or suffer to be committed, any waste on the Leased Premises, nor shall Lessee permit the Leased Premises to be used in any way which would, in the opinion of Lessor, be hazardous on account of fire or otherwise which would in any way increase or render void the fire insurance on the Leased Premises or Building.

A lawyer might say that the lease says that the space will be "used and occupied only for the purpose of general office use," but then again, Touchet had used the space as a gallery for 11 months and Property One didn't complain.


In any event, she plans to close the gallery (her lease is up), but I wanted the prudes at Property One know that their ignorant, outdated, and assholish actions have been been heard in the nation's capital region and will forever be part of their footprint in Al Gore's Internet for now on.

Teresa Oaxaca at The Art League

Many years ago, I was at the old Washington Post building meeting with the then WaPo Chief Art Critic. He was going through dozens and dozens of postcards and letters (this was at the dawn of the email age), and he'd glance at them, and then drop them into a waste basket... there was a 99% rejection rate at first glance. I sat there, a little hypnotized by the sad reality of the event.

Years later, after having written about DMV area artists for almost three decades, like most art critics, writers and symbiots of the visual arts, I am also now bombarded with emails, news releases, post cards, letters (yep! old fashion snail mail) and other assorted paraphernalia designed to let me know that an artist is showing somewhere.

And like most people and that former WaPo art critic, time management is a delicate issue, and thus over the years I’m fairly sure that I’ve actually only seen about 1% of the shows that I have actually been interested in, or which have caught my attention.

A while back, one of those shows which snared my interest was an embassy show by a “new” – or at least new to me – artist whose work (at least online) seemed to be quite good.

 It wasn’t just that it “looked” quite good because of the subject matter (it did), or that it looked like the artist had some really good painting skills (it did), or even because it was eye catching in a different frequency from most works (it was) that I would usually be exposed to.

And thus, I decided to pay a visit to this embassy show (these days it involves arranging for baby sitters, planning the drive, and there's very little room for error, etc.), and to say that the work at the embassy show floored me is an understatement.

In fact, it forced me to put my nose close to the canvas; it forced me to step backwards and far away to see how the tight compositions worked together; and it even scratched my inner eye and forced me to look around to ensure that I hadn’t been transported to the past, or perhaps to the future of contemporary realism.

Teresa Oaxaca was the artist, and her paintings and etchings were the subject that dazzled my eyes, seduced my imagination, punched the solar plexus of my mind, and filled my curiosity with inquiries about all that revolved around the paradox-filled universe of this "new to me" artist.




"Pursuit" ​ by Teresa Oaxaca

Oil on canvas with artist-made frame

​28"x28"

Oaxaca... and this is clear to the most casual observer, and even clearer to someone who has seen the works of thousands and thousands of painters, is an artist with formidable painting skills.

Her energetic brushwork and fearless attitude towards an aggressive employment of color should be the first chapter in the lesson book to anyone aspiring to pick up a brush and apply anything to a canvas.

Look at the apple in "Pursuit."

It's not the brilliance of the fruit that makes it sing with erotic gusto; in fact it is too shiny - it is like a waxed fruit, prepared to sensualize the first bite by first decorating the visual senses.

It is not its stylized perfect shape, also designed to capture our human check points from the times that we shared the planet with Neanderthals and Denisovans.

It is in fact, those two delicate touches of white paint on the fruit, and it is also the manner in which the cloth caresses the fruit.

Oaxaca’s paintings and prints are at first sight a prism focusing the refracted colors back in time; or are they? To the fantasist, they could also be the work of an artist who has been traveling from a Victorian era to the present; or is it a future time traveler, bathing in the luxuries of the Baroque period, sending us her impressions from her latest voyage to the past?

Whatever the answer, the DMV gets an expanded opportunity to see her work, as her second solo exhibit at The Art League in Alexandria, “Misfits”, will be on view April 6-May 1, 2016.

According to The Art League’s news release, the show “explores the themes of clowns and dolls, human effigies, and painted faces, integrating human emotions and passions with allegorical storytelling. Oaxaca’s style has greatly grown and evolved since her first solo exhibit at The Art League in 2010. She’s interested in breaking the boundaries of traditional realism, and is succeeding through her choice of subject matter, compositional choices, and painterly style.”

Since I’ve just discovered this painter, I have no idea what her first solo show was about, but I suspect that it was but a bridge to her most recent work. Make no mistake, this is an artist who is deeply embedded in the world that she depicts through her art; she lives in that world.

“My work is about pleasing the eye. I paint light and the way it falls. Simple observation reveals beauty, which I often find in the unconventional. Because of this, I have learned to take particular delight in unusual pairings of subject matter,” she notes.

In that previously discussed apple, there are hours of work, but it is the final two applications of white which seal the deal.

"Laughing Queen" by Teresa Oaxaca
Oil on canvas with artist-made frame
 60" x 40"

Oaxaca’s compositions are described as spontaneous. “When a person comes to me, they occupy a space in my mind. Arrangements form from there until I excitedly see and conceive the idea for the piece. The design is both planned and subconscious. For this reason, I surround myself with Victorian and Baroque costumes, bones, and other things in which I find fascinating. I want subject matter to always be at hand, always around me.”

All of Oaxaca’s paintings will be shown within unique frames that the artist designed, built, and painted herself. She feels that the individually designed frames truly complete the one-of-a-kind piece.

Do not miss this show... More later.


Update: Ms. Oaxaca will be doing a demo in the Art League Gallery on the 13th and they will be live streaming on their YouTube channel: https://www.youtube.com/watch?v=_ZYoRm8aY5w

Tim Vermeulen opens in LA

Congrats to DMV artist Tim Vermeulen, whose solo show Alphabet, (inspired by the 1727 New England primer) opens April 9 at the George Billis Gallery in Los Angeles. 

 

Tim Vermeulen, J. Job Feels the Rod, Yet Blesses God. 2016, oil on panel, 19 x 23 inches framed

 You can see the show online here.

Ladybird

In NYC? Come visit us at the Affordable Art Fair, booth 1.54

"Ladybird" 2016 by Lauren Levato Coyne
Colored pencil on blue toned paper
11" x 9"

Cars I've owned

Fiat X1/9 (1977-1985)
Citroen Palas (1982-1985)
Seat (1982-1985)
Saab 900S (1985-1997)
Lada (1989-1992)
Dodge Caravan (1996-1998)
Ford Windstar (1998-2005)
Chrysler Town & Country (2005 - ?)

Reds

In NYC? Come visit us at the Affordable Art Fair, booth 1.54

"Reds" Oil on Linen, 14,11 inches by Rory Coyne