25th Bethesda Row Arts Festival

Wanna sell some artwork?

Artist Application now open for the 25th Bethesda Row Arts Festival, October 14-15, 2023

The application for the 25th Fine Arts Festival is now open! The festival takes place on the streets of Bethesda Row, located in Bethesda, Maryland (Woodmont, Ave., Bethesda Ave., and Elm St.). “Art Fair Sourcebook” has recognized the Bethesda Row Arts Festival (BRAF) as one of the top 30 Fine Art Shows in the United States, attracting more than 25,000 art patrons over the two-day event.

The Festival attracts 25,000 high income attendees come from the Washington, DC Metro Area, and the surrounding suburbs of Bethesda, Chevy Chase and Upper Northwest. The three mile radius around the Festival has an average household income of $196,910, making it one of the nation's most affluent and educated art marketplaces.

The event is promoted through a targeted and integrated marketing plan, which includes a comprehensive social media and internet campaign, magazine and newspaper advertising, postcards and posters, and radio promotion. Our public relation firm works with the local chamber of commerce and urban district to engage the community, and reach out to new audiences.

Apply here.

Wanna go to an opening on Friday?

First Friday opening reception on Friday,  April 7th, 5 – 9pm along with Resident Artists' Open Studios at Artists & Makers in Rockville!

Artists & Makers Studios on Parklawn Drive in Rockville is proud to host Ivan Amato and Michele Banks as they revel in the aesthetic potential of their microscopic obsessions: molecules, microbes and cells along with two additional exhibits and an Open Studio event. The show, Micromajesty: Intersections of Art and Science, runs from March 29th through April 26th at Artists and Makers Studios.

Enjoy additional exhibits - “Green” with Resident Artists, and 19 Gallery 209 Artists exhibiting their latest work. The theme for the April A&M Resident Artists’ Exhibition is Green. A mix of yellow and blue, green symbolizes life, fertility, renewal, and resurrection; evokes lush grass, trees, and forests and is often described as a refreshing and tranquil color. Other common associations with green are money, luck, health, and envy. This month A&M resident artists ponder their relationships with green.

Opening Reception
5:00pm – 9:00pm, Friday, April 7th, 2023
 
Artists & Makers Studios
11810 Parklawn Drive, Suite 210
Rockville, MD 20852

On the subject of art contracts

This is a repost from 2003 - but still as applicable as 20 years ago:

My post on the subject of the unfortunate theft of Afrika Midnight Asha Abney’s work from a restaurant show, and the subsequent issue of who (if anyone) pays for the loss, and my mention of why it is important to have contracts when forming a business association with a gallery or dealer - or any exhibition venue, for that matter – brought an unexpected deluge of emails from artists (and one gallerist) asking why a contract is such a big deal.

Let me give you some examples:

1. Take Afrika’s case: An artist has a show and someone steals a piece of art. What happens next? With a signed contract, the artist would know ahead of time that either (a) the gallery has no insurance, in which case the theft is a full loss, or (b), the gallery has art insurance, in which case (a) the gallery puts a claim in with the insurance company, or (b) the artist deals directly with the insurance company. And, by the way, in the event that there’s insurance, don’t expect to get the full value of the stolen work, but in most cases (and policies) only the 50% commission that you’d have received in the event that the work had sold instead of being stolen.

2. Talking about commissions; how do you know, other than a handshake, what the gallery’s commission is? Let’s say that you are told that the commission is 50% (the general standard for independent commercial fine arts galleries around here). Is that 50% of the price of the piece or 50% of the final sales price? I know of at least one major DC area art gallery that has a record of really screwing artists by giving them 50% of an agreed price for a piece; however, the gallery also often sells the piece for a lot more money to its out of town collectors and keeps the difference. Here’s how it works. The artist agrees to sell the photographs for $500 each and thus expects a commission of $250. The unethical gallerist sells some for $500, and some to its out-of-town clientele for $1000, but gives the artist the same $250 commission on those sales.

3. But let’s say that you have approached a gallery, and show them the works, and discuss representation, and the gallerist agrees to hang some of your work in his next group show. You are not sure if you are “represented” in the sense of the word as you understand it, but shake on it and prepare for your first appearance in a well-known gallery and invite all of your family and friends. At the packed opening, your second cousin-once-removed is admiring one of your huge watercolors, which are tacked onto the wall in a really cool post-post-post-modernist style. He leans forward to admire your brushwork and accidentally spills his white wine onto your watercolor, immediately making your representational work of art into a messy abstraction. What happens next? Does insurance cover damage? Is there insurance? Is that the guy who spilled the wine making a dash for the door?

4. Having learned your lesson, at your next opening you resign yourself to getting your new work framed and spend a ton of money getting them framed at the most affordable (in other words cheapest) possible way, but still spend a considerable amount of shekels -- because as everyone knows, framing is very expensive (unless you attend the Boot camp for Artists Seminar and learn how to cut framing expenses by 80%). When you deliver the works to the gallery, the gallerist goes into fits about your gold leaf rococo frames from Target and silver acidic mats and refuses to hang the work. A good contract would have specified ahead of time all issues dealing with framing and presentation standards.

5. Having calmed down, the gallerist then offers to re-frame all the work for you. You accept with a sigh of relief, and at the opening your 20 newly framed watercolors look great in the 8-ply pH-balanced, acid free mat board, under UV glass and Nielsen mouldings and backed by half-inch, acid free, pH-balanced foam core. You sell four pieces and are happy that things worked out in the end. A few weeks later you get a huge bill in the mail from the gallery; it is what remains of the framing bill after the gallery applied all of your commission to the total framing bill. A good contract should also specify the economic who’s and what’s of any framing done by the gallery.

6. Your relationship with the gallery is now seriously on the rocks, but then you are told that a review in Art News will come out soon. Three months after your show has closed the review finally comes out in Art News and it’s a good one. A young computer geek in Bala Cynwood, Pennsylvania, who is waiting to see his doctor for his annual physical reads that Art News review while waiting in the doc’s office, sees the nice reproduction of your work and after he goes home, looks you up on the Internet and contacts you directly and tells you that he read the review of your gallery show in Art News and wants to buy the painting reproduced in the magazine. You sell him the painting and put all your money in the bank. Sixteen minutes after the painting is delivered to Bala Cynwood, the gallery gets a call from a collector in Spokane, Washington who has also read the Art News review and wants to buy that painting. The gallerist calls you and tells you the good news. You are ecstatic that two people want your painting, but then you tell the gallerist that someone else in Bala Cynwood read the review and that you sold the painting to that person. The gallerist congratulates you on the sale and then asks you to make sure that you send him the gallery’s commission. You are confused because you had no idea that you owed the gallery a commission.

7. Your review in Art News has opened a few doors for your artwork and you are invited by a non-profit art venue to have a solo show at their space in a year. You are pleased and tell everyone, including the gallerist, who informs you that because his gallery represents your work, you are not allowed to exhibit anywhere else in the city, or maybe the area, or maybe the state, or maybe the US, or maybe the world.

8. Then your Alma matter, impressed with your artistic prowess, invites you to a group show of alumni artwork in the school’s gallery. Since you attended art school in another state, you are pretty sure that it will be OK to show there, because after the last confusion, you discovered that the gallery had exclusive representation for your work only in DC, MD and VA, and your art school is in Brownsville, Texas. You tell your gallerist, and because he has never heard of Brownsville, Texas, looks it up on the Internet and then he informs you that if you exhibit your artwork in “certain places” it will bring the reputation of the gallery down and thus the gallerist doesn’t want you to exhibit in Brownsville, Texas – or anywhere in Texas, Arkansas and Nebraska for that matter.

9. You beg and plead because you really want to impress your ex-girlfriend in Texas, and the gallerist allows you to include one piece in that alumni show, but makes it clear that he needs to be consulted on any and all exhibitions of your work. And so you exhibit your best piece in Brownsville and a New York gallerist, who happens to be a Robert Ervin Howard admirer, visits Brownsville and decides to check the local yokels show at the art school. Because your immense watercolors are the largest works in the show, they catch his attention and he jots down your name. Weeks later his intern calls you and tells you that they want to show some of your work in their next group show. This is really hitting the big time, and you announce to your gallerist that a big shot New York gallerist is including you in his next group show. He congratulates you and reminds you that you owe him 10% of any sales made in New York, or in Brownsville, Texas, or anywhere for that matter. You rant and rave and ask why, and he tells you that the reasons for your recent success all lead back to the exposure that he has given you. You demand to know why none of this stuff was made clear from the beginning. The gallerist answers that “everyone knows this,” and that he “likes to operate on a handshake and without a contract.” You then realize that you have him by the balls, since you have no signed contract with him or his gallery, and tell him that you are leaving. He says some threatening stuff about verbal contracts, but you walk away anyway, wondering how you are going to get back the six paintings of yours that the gallerist still has in storage.

10. Nonetheless, New York is New York, and you go visit the big shot New York gallerist and meet with him, and over a handshake he agrees to put you in a group show and tells you that his commission is 60% - You are not sure if you are “represented” in the sense of the word as you understand it, but shake on it and prepare for your first appearance in a New York City gallery and invite all of your family and friends... cough... cough...

Art satire

Had this article been real, and not satire, practically everyone in the article, starting with the scribe, and all the commentators, would have suffered my wrath!

It's very funny!

Read the article here.

STABLE Arts Shakes Up the D.C. Arts Scene

 Like a great work of art, the name of D.C.’s largest art studio, STABLE Arts, has layers. There’s the literal: Its building is a former stable. Then there’s its collective meaning — a group of people sharing space and resources: a stable of boxers, of writers. When used to describe a structure or a person, it means “not easily shaken or dislodged.” In the often-irregular lives of artists, some stability can make a big difference. 

The studio, a demure brick building in Eckington, opened in late 2019 to provide local artists with affordable studio space. After several early shakeups, including the Covid-19 shutdown, personnel changes and community-led allegations of inequity, the organization hired Maleke Glee as its inaugural director in January 2021. They charged the Howard University and Goucher College alum with stabilizing the young organization and championing the past, present and future of art in the District, starting with its resident artists. 

“A studio is quite valuable because it gives an artist freedom to make without restriction,” Glee says. “A lot of our artists were previously working in their living rooms or basements. They were cautious of the materials they could explore. There’s a real value in having a designated space where you can get the walls dirty, the floors dirty.” 

Read this really good article by Chad Kinsman in District Fray Magazine here.

Dalíland is coming!

I can't wait to see this new film, and then to hear John Leguizamo bitch about it.

Ben Kingsley and Ezra Miller are Salvador Dalí like you've never seen him.

The actors portray the legendary surrealist's older and younger versions, respectively, in the upcoming film Dalíland, which follows the late Spanish painter — specifically, focusing on "the strange and fascinating marriage between Dalí and his wife, Gala (Barbara Sukowa), as their seemingly unshakable bond begins to stress and fracture," according to a synopsis.

"Set in New York and Spain in 1974, the film is told through the eyes of James (Christopher Briney), a young assistant keen to make his name in the art world, who helps the eccentric and mercurial Dalí prepare for a big gallery show," adds the synopsis for the film, which had its world premiere in September 2022 at the Toronto International Film Festival.

Bad things galleries do to artists: Unethical galleries will take in a piece of artwork by an artist, and when the price is discussed, the gallery says: "What's the price?" and the artist says: "$1000" The gallery nods OK and the artist leaves, knowing that if sold, he'll get $500 (most galleries in the DC area charge 50% commission (in NYC some are as high as 70%). The gallery then sells the piece, but for $2,000, sends the artist a check for $500 and pockets the extra $1,000. That is why artists should insist on having a contract with a gallery, and the contract must specifically address that the artist will get 50% of the actual sale price.

Bad things artists to do galleries: A reputable gallery gives an artist a show, and goes through all the various expenses associated with doing so (rent, electricity, staff salaries, publicity, ads, post cards, opening reception catering, etc.) So far the gallery has put forth a considerable investment in presenting the artist's works. An interested novice collector meets the artist at the opening and expresses interest (to the artist) in buying some of his artwork. The artist, wishing to stiff the gallery for their commission says: "See me after the show and I'll sell it to you directly and save myself the gallery commission." This is not only unethical, but it's also guaranteed to ruin the artist's reputation in the city, as these things always come out in the wash, and soon no gallery will exhibit any work by this artist.

Eve Agonizing Over the Sin

"Eve Agonizing Over the Sin", charcoal and conte on paper, 20x36 inches is now part of a private collection in New York City acquired during NYC's Affordable Art Fair New York City!

Eve Agonizing Over the Sin by Florencio Lennox Campello

Ally Morgan

Ally Morgan made her NYC debut at the Affordable Art Fair New York City and "Girls III" is heading to the collection of a Connecticut art collector!

Girls III by Ally Morgan

"Mild Mac Attack" by Jennifer Kahn Barlow is staying in New York City with two young collectors who added them to their collection via the Affordable Art Fair New York City!

The Dora Patinization of New York!

Dora Patin is killing it at the Affordable Art Fair New York City! "Monarch" is staying here and all other paintings have been acquired by a DC collector!

Plus four new commissions for the playing cards series!

"Sleep is the cousin of death" staying in New York

Ice broken in day two at the Affordable Art Fair New York City as "Sleep is the cousin of death" is gonna stay in NYC!

Also This Dora Patin trompe l'oeil is not coming back! Staying in a private collection in Connecticut! Sold at the Affordable Art Fair New York City!

Opening night last night

Opening VIP night was last night,  and the Metropolitan Pavilion was packed for the Affordable Art Fair New York City ! Over 2300 visitors! Four works by Tim Tate, three trompe l'oeil paintings by Dora Patin and nearly a dozen drawings on Bisque sold! The best place for art is on someone else's walls!

Booth is ready!

 Booth D10 at the Affordable Art Fair NYC! After 8 long hours!

Line outside the Metropolitan Pavilion in Chelsea waiting to get in to the Affordable Art Fair New York City - VIP opening reception tonight!

On the road again...

Van is packed! Headed to New York for the Affordable Art Fair!

Galleryphobia

The below post was originally published about 20 years ago... but it is still very pertinent and funny!

A while back I made some comments on the subject of galleryphobia. Other similar experiences by other gallerists soon followed.

Today, as I sit in the gallery, and observe that Bethesda Plaza is once again packed with people awaiting to be called to the Original Pancake House, and yet only a few brave souls dare to enter the gallery, while dozens float back and forth attempting to view the entire exhibition through the glass walls, I am reminded of another gallery phenomenom: Bin Magnetism, also sometimes called Print Rack Magnetism.

I've not only observed Bin Magnetism evidenced at our two galleries, but also at every single gallery that I've visited that has a floor bin (or print rack) loaded with shrink wrapped matted two dimensional work.

You know the kind; nearly every gallery has one (they usually look like this)- loaded with art work that can be purchased and (usually) taken away immediately - as opposed to the month-long permanence of the scheduled exhibitions on the walls.

Anyway, what I have observed is that there exists a phase two to galleryphobia.

Once the galleryphobia-afflicted person has received enough counseling and encouragement, and then (after a deep breath), dares to actually enter the art gallery, he or she is often immediately and irresistibly attracted by some invisible and powerful force directly to the art bin, much like a stranded swimmer making his way to a floating log in the middle of the ocean.

This is phase two of galleryphobia, hereafter referred to as Bin Magnetism.

And if the gallery happens to have more than one floor bin, then the person usually contracts a more severe and acute case of Bin Magnetism and then makes his way from art bin to art bin, as if swimming from one safe spot to another. Sometimes they work their way around the gallery that way, breathlessly going through the shrinkwrapped artwork, eyes locked onto those pieces, avoiding any eye contact with anyone else, and unfortunately often not even looking up at the exhibition actually hung on the walls before they make their way out of the gallery.

The Bin Magnetized victim can often be rescued and cured by approaching them, smiling at them and starting a light conversation. Once they get over their startled look at discovering that the gallerist is (sometimes) a human being capable of speech, the disease if usually cured on the spot.

In rare ocassions, the Bin Magnetized victim will be allergic to this proven cure and react by either fainting or running away at an Olympic clip.

A Conversation with art collectors

Audiences for Art: A Conversation with Private Art Collectors is Monday, March 20 2023, 7- 8:30 pm. Brought to all of us by the Washington Sculptors Group.

Join lifetime art collectors – Juanita and Mel Hardy, Beverly and Chris With, and Joan Weber in a conversation about their approaches to collecting art for their homes and personal lives. The conversation will be held on Monday, March 20th, 7-8:30 PM.

Register here

This is a conversation about what’s called “private” collecting, personal work for someone’s home. Frequently, sculpture for personal collections is small in scale but may include larger works. 

Why do people collect art? What motivated them to start? To continue collecting? How to they find the work they acquire? How do they decide what they’re willing to spend for a work?  How do couples who collect make their decisions? 

Join longtime collectors, Juanita and Mel Hardy, business people who focus on work by African-American artists, co-founders of the Millenium Arts Salon; Chris and Beverly With, formerly with National Gallery of Art, currently Board Chair and Program Chair of the Washington Print Club; and business person Joan Weber – who will answer some of these questions and many more. 

Campello at auction

Super cheap starting bid of $100 and the auction at Bakker Auctions in Provincetown ends tomorrow. Bid for it here.