Here's my review of the last Frederick AOM.
Tuesday, February 23, 2016
Artomatic is coming to Frederick!
Here's my review of the last Frederick AOM.
Sunday, February 21, 2016
NASA plans to send art to asteroid Bennu
And you are all invited to submit work!
Fields of Inquiry
Fields of Inquiry |
Mei Mei Chang February 27 – March 27, 2016 Opening Reception:Sunday, February 28, 2016 The Popcorn Gallery Gallery Hours: |
In early December Mei Mei Chang, Pat Goslee and Kathryn McDonnell began working on two donated canvases. They moved the large canvases into Kathryn's studio and using paint that was also donated they began collaborating. They had to contend with busy work schedules, the holidays, travels, snowstorms, ice storms, blizzards and the pressure of a deadline, as well as unique artistic sensibilities. Will they be able to complete the paintings in time? And which one will they choose for the exhibition Fields of Inquiry? The gallery space at the Popcorn gallery is limited and will hold just one of the paintings. So they must choose. Please join them and see this unique collaboration. |
State of the Art/DC - Part 3
- Holly Bass, Artist and Director, Holly Bass 360
- Rhea Combs, Curator of Film and Photography at the Smithsonian’s National Museum of African American History and Culture, and the Head of Center for African American Media Arts (CAAMA)
- Tim Doud ( Artist and American University, Director, Studio Art) and Caitlin Teal Price (Artist and American University, Adjunct professor, Studio Art)
- Jarvis DuBois, Director, J. Dubois Arts
- Arthur Espinoza, Jr., Executive Director, DC Commission on the Arts and Humanities
- Philippa Hughes, Writer/speaker/flâneur/provocateur
- Brandon Morse, Artist and professor, University of Maryland, Dept. of Art
- Andrea Pollan, Founder/Director, Curator’s Office
- Tony Powell, Artist, dancer, composer, choreographer, writer
- Victoria Reis, Co-founder, Executive & Artistic Director, Transformer Gallery
Friday, February 19, 2016
The Baltic Sea Anomaly
Thursday, February 18, 2016
For TBT: Teen paintings
Memories of Baracoa, Cuba circa 1973, 20x16 inches House paint on cardboard by F. Lennox Campello In the collection of Ana Olivia Cruzata, Viuda de Campello, Hialeah, Florida |
Memories of Cuba circa 1972, 16x40 inches House paint on found board by F. Lennox Campello In the collection of Ana Olivia Cruzata, Viuda de Campello, Hialeah, Florida |
For TBT: The fish drawings
While I lived there, I used to drive down to Monterey and do an art fair there... one year, a local seafood restaurant owner who collected my work proposed to me to do a few drawings of some of the fish that he served in exchange for a lifetime free food at the restaurant (which had been on the Monterey Fisherman's Wharf for years, and it's still there to this day.
I agreed, and later on I drove down again, checked in, ate lunch and then went into the kitchen area, where they brought out the fish, nicely laid on a bed of ice.
I used a Sumi brush and ink to capture the images of the fish that they served... some of them are shown below:
Wednesday, February 17, 2016
Trawick Prize
The 2016 jurors are:
- Stéphane Aquin, Chief Curator, Hirshhorn Museum and Sculpture Garden
- Hasan Elahi, Associate Professor, Department of Art at the University of Maryland
- Rebecca Schoenthal, Curator of Exhibitions at The Fralin Museum of Art at the University of Virginia
Tuesday, February 16, 2016
Survived!
Under the knife
Not looking forward to the next 2-3 weeks. But like Clint Eastwood once famously said: "Hog's breath is better than no breath at all..."
There are lots of things that I am afraid of, but weirdly enough, death is not one of them. I think that the fact that if I were to croak today I'd still be leaving behind around ten thousand pieces of artwork which have been sold, traded, given away, left in hotel rooms, inserted into Goodwill stores and/or otherwise left to leave an artistic footprint, is rather a calming feeling.
This is a major, multi-hour, robot-not-a-human-in-charge operation, which I am told has an 80% success rate where the John Doe doesn't bite the bucket (and frankly, I picked the robot over the human, because of something called "tremors" when it comes to a surgical scalpel), soooooooooo.... If I do bite the bucket, I'd like a tombstone that looks like a Pictish Stone, sort of like this one that I did in Scotland in 1989:
Clach Biorach Pictish Standing Stone Edderton, Ross, Scotland circa 1989 by F. Lennox Campello Pen and Ink wash on paper, 9.5 x 6.5 inches |
Monday, February 15, 2016
Noah Charney on art fakes
That evening, art forgery was the subject of conversation in the museum’s stylish black marble restaurant. The patrons of the Leopold lamented that they could show their best Schiele drawings (the ones that drew pilgrims) only for a few months at a time. The rest of the time they were in darkened storage, to minimise their exposure to light, and reproductions were displayed in their place. Someone from the Albertina sympathised. She explained that Dürer’s marvellous watercolours, Young Hare and Tuft of Grass, are shown to the public only for three-month periods every few years. Otherwise they reside in temperature-, light- and humidity-controlled Solander boxes in storage. Had I had the chance to see them?
Read the whole thing here.Indeed I had, and while I had been suspicious that something wasn’t quite right about them, I would be flattering myself to say that I immediately knew they were reproductions. Today’s printing technologies make it difficult to distinguish high-quality facsimiles from originals, at least not without taking them out of the frame and examining the back (which holds a wealth of clues about an object’s age and provenance), or looking at the surface in detail, without the interference of protective glass. In an intentionally shadowy alcove I could sense that something was off, but not exactly what.