Tate in Neural

Europe's Neural magazine reviews Tim Tate.

Read the review online here in English and here in Italian.

Ace

Anderson Lennox Franklin Lars Timothy Angus Pict Eric Florencio Brude James Tiberius Campello Anderson Cruzata Jaspersen Alonso Zaar Marrero Karling Comba Noren Dalke Hartsell y Lennox. Circa August 28, 2009. Flesh and Blood. 20.5 inches by 8lbs 2 oz. NFS

It's a boy!

I am a father again! Welcome to the world Anderson Lennox Campello, born today, 28 August, 2009 at 0325AM after putting his mom through 41 hours of labor!


In the Cuban tradition I am giving him a ton of names... so although officially his name is Anderson Lennox Campello, his real name is Anderson Lennox Campello plus he also has these for the family record: (these are middle names following) Franklin Lars Timothy Angus Pict Eric Florencio Brude James Tiberius (and extended last names from his parents lineage in the right order) Anderson Cruzata Jaspersen Alonso Zaar Marrero Karling Comba Noren Dalke Hartsell y Lennox.

Wanna go to an opening at UM?

From Wednesday, September 2 through Wednesday, October 3, Profess: Department of Art Faculty Exhibition provides a glimpse into the creative research and professional activities of the University of Maryland’s Department of Art faculty.

The seventeen full-time faculty members included in the exhibition are: Audra Buck-Coleman, Patrick Craig, Dawn Gavin, Margo Humphrey, Wendy Jacobs, Patrice Kehoe, Richard Klank, Tadeusz Lapinski, Ruth Lozner, John McCarty, Brandon Morse, Jefferson Pinder, W.C. Richardson, John Ruppert, Foon Sham, Justin Strom, and James Thorpe.

The exhibition takes place in The Art Gallery located on the 2nd floor atrium of the Art-Sociology Building at the University of Maryland, College Park campus. A reception takes place Wednesday, September 2, from 5:00 to 7:00 pm.

Mack, The Knife

I've always liked this song and always wondered what the hell it is about...

Oh, the shark, babe, has such teeth, dear

And it shows them pearly white

Just a jackknife has old MacHeath, babe

And he keeps it … ah … out of sight.



Ya know when that shark bites, with his teeth, babe

Scarlet billows start to spread

Fancy gloves, though, wears old MacHeath, babe

So there’s nevah, nevah a trace of red.



Now on the sidewalk … uuh, huh … whoo … sunny mornin’ … uuh, huh

Lies a body just oozin' life … eeek!

And someone’s sneakin' ‘round the corner

Could that someone be Mack the Knife?



A-there's a tugboat … huh, huh, huh … down by the river don’tcha know

Where a cement bag’s just a'droopin' on down

Oh, that cement is just, it's there for the weight, dear

Five'll get ya ten old Macky’s back in town.



Now, d'ja hear ‘bout Louie Miller? He disappeared, babe

After drawin' out all his hard-earned cash

And now MacHeath spends just like a sailor

Could it be our boy's done somethin' rash?



Now … Jenny Diver … ho, ho … yeah … Sukey Tawdry

Ooh … Miss Lotte Lenya and old Lucy Brown

Oh, the line forms on the right, babe

Now that Macky’s back in town.



Aah … I said Jenny Diver … whoa … Sukey Tawdry

Look out to Miss Lotte Lenya and old Lucy Brown

Yes, that line forms on the right, babe

Now that Macky’s back in town …


Look out … old Macky is back!!

Cuban art is caliente!

Because I am an art dealer, and because I have several art collectors that retain me as an advisor, I try to figure out the art scene from a commodity perspective as well as an artistic one; a key marriage often eschewed by most art critics because of their natural antipathy at admitting their symbiotic relationship with every facet of the art world, including the fact that art is everything, including a commodity.

How long have I been shouting "buy Cuban art!"? A long time... and not just because I may be a prognosticating commercial art genius, but because of the two great recent examples in the worldwide industry of making a piece of art climb in price: Russia and China.

Not just me, by the way, but also the Wall Street Journal, which looks at all things from a money perspective.

And of course, being self-serving because I'd rather people buy the artwork produced by the artists that I represent, I am always glad when they continue to do well, as they are "discovered" by the greater American art public in these three forthcoming exhibitions, all featuring the work of Sandra Ramos, whose amazing work I've pushing for years now and whose American solo gallery debut took place at my former gallery several years ago!

Sandra Ramos, "Alumbramiento (Enlightment)" - Mixed Media Etching. 22 in. x 30 in. (56 cm x 76 cm). 2005.
The Lyman Allyn Art Museum in New London, Connecticut has just announced a new exhibition, Ajiaco: Stirrings of the Cuban Soul, opening September 12, 2009 and on view through February 21, 2010.

Lyman Allyn Art Museum’s partner, the Hispanic Alliance of New London, has provided support for this exhibition with its coordinating programs and events. Cuban culture has been characterized as an ajiaco or a rich stew consisting of a vast array of ingredients. It is this synthesis that is the essence of Cuban art and the subject of Ajiaco: Stirrings of the Cuban Soul. The exhibition seeks to interpret the diverse social dimensions of Cuban art in a global context through the exploration of its relationship with African, Asian, European, and indigenous influences and belief systems.

This art incorporates the tales of the Orisha of Africa, the calligraphy of Chinese Tao Te Ching, and the rituals of indigenous peoples. The formats change, the materials vary, but the mix remains constant in both Cuban and Cuban American art. Ajiaco: Stirrings of the Cuban Soul is not only about Cuban art; it explores diaspora. In broader terms, this project addresses both the immigrant experience and the expression of cultural identity in a new place.

The curator, Dr. Gail Gelburd, a professor of art history at Eastern Connecticut State University in Willimantic, Connecticut, writes,

“Isolated and yet educated, restricted and yet heralded, the Cuban artist embodies the angst of their situation and yet embraces the loftiest of goals. Their syncretist tradition and heritage allows them to go beyond the monotheistic traditions in order to find the origins of their soul, the geist or inner spirit of their art.”

Gelburd has been conducting research on Cuban art and artists for over fifteen years. She travels to Cuba regularly and has lectured there for the Havana Biennale, Havana University, and Casa Africa. Gelburd has received numerous grants and awards, including a Rockefeller Foundation grant to conduct research on Cuban art and she is publishing a book on Contemporary Cuban art. Her article “Cuba: The Art of Trading with the Enemy" was published in Art Journal in Spring 2009.

This exhibition consists of more than fifty objects, including paintings, works on paper, photographs, sculpture, installations, and audio works by twenty-two artists. Ajiaco: Stirrings of the Cuban Soul will feature such major figures in Cuban art as Wifredo Lam, Manuel Mendive, Jose Bedia and Sandra Ramos, among others.

Following its time on view in New London, Ajiaco: Stirrings of the Cuban Soul will travel to the Chelsea Art Museum in New York City and then on to the Hilliard Museum at the University of Louisiana in Lafayette, Louisiana.

And another one:

The Center for Contemporary Printmaking (CCP) in
Norwalk, CT heralds in the fall with an exhibition of Latin American prints, September 24, 2009 through November 07, 2009. The exhibition opens with a gallery reception on Thursday, September 24, 2009, 4 – PM, and is free to the public. Entitled “Creative Dialogues: Latin American Prints & Printmakers”, the exhibition focuses on the human figure and the interaction of different Latin American cultures to their environment and living conditions. Approximately 50 works of art are in the exhibition. Gallery talks and a workshop exploring contemporary Caribbean and Latin American prints and printmakers are planned to coincide with Hispanic Month, which takes place in October 2009.

Artists participating in the exhibition hale from many countries, and underscore the diversity of imagery presented at the exhibition. Gallery visitors will have the opportunity to review the work of two artists who create their images at a printmaking atelier in Cuba, images that are rarely exhibited in the United States; to review the work of Antonio Frasconi, an international artist who resides in Norwalk; or take in a lecture by Sandra Ramos, an internationally known installation artist, and Alicia Candiani, workshop owner and artist whose imagery emphasizes women and women’s issues. Sandra Ramos and Alicia Candiani are traveling stateside to create new prints at the CCP Helen Frankenthaler Printmaking Cottage and participate in the Artist-In-Residence program for several weeks during the “Creative Dialogues” exhibition.

On Friday, October 2, CCP is hosting a special gallery event, open to the public. Join guest Curator Ben Ortiz for a walk and talk of the “Creative Dialogues” exhibition at 6 PM, and listen to Sandra Ramos and Alicia Candiani talk about their images in the exhibition at 7 PM. Following the gallery talks, attendees will have the opportunity to view new works by Sandra Ramos and Alicia Candiani at the Helen Frankenthaler Printmaking Cottage.

And lastly, Wake Forest University is presenting "Cuban Artists, Books and Prints, 1985-2008." The exhibition gathers over 120 books, maquettes for unpublished projects, related prints, and printed objects. The books were designed for Ediciones Vigía, a collaborative artists’ press founded in 1985 in Matanzas. The only press of its kind in Cuba or perhaps anywhere, it began with a mimeograph machine and a borrowed typewriter. The show includes 120 works (handmade books, prints, sculptures, film about artists, digital frames, and mixed media) and it is curated by Linda S. Howe, curator and Professor at Wake Forest University, in conjunction with Paul Bright, Assistant Director of WFU Fine Arts Gallery.

Prints by Ibrahim Miranda and Sandra Ramos offer romantic, nostalgic views of the island or ironic interpretations of patriotism. Miranda superimposes fantastic beasts on old maps of Cuba. For her book Jabberwocky, Ramos mixes excerpts from Lewis Carroll’s text and John Tenniel’s images for Through the Looking Glass with her own on pages facing foldout mirrors (where they must be read). Other prints combine photographs of herself as a child with her illustrations of contemporary Cuban life, suggesting its fairytale quality, sardonically sketching the quotidian, and voicing her sense of loss.

The exhibition goes from August 26 - October 6.

And, remind me later to blog my mother's most excellent Ajiaco recipe!

Worst Nobel Peace Prizes ever

It has nothing to do with art, but this article is pretty good and cements something that I really believe: sometimes the prize just goes to the wrong bloke. Read the David Rothkopf article here.

My vote for the worst Peace Prize ever? Yasser Arafat.

Gopnik on Sanborn

"Terrestrial Physics," as the new installation is called, is possibly the most substantial work of art to come out of Washington since the 1950s, when Morris Louis stained his first canvases. Except Louis's fans had seen big, colorful abstractions before. No one has come across a thing quite like the new art Sanborn has made, working almost alone in his studio over the past three years.

Read Blake Gopnik's excellent profile on Washington area artist Jim Sanborn here; there's an interesting lesson for all artists in the last 6-7 paragraphs of the story.

And by the way, I was very glad to see Gopnik do something rare last Saturday: cover a couple of local DC galleries. Read that here. Gopnikism of that article: "Though boyish, the piece also is sober and adult."

Opportunity for Artists

Deadline: Postmarked by Sept. 18, 2009

The Workhouse Arts Center will present Poetic Art: a benefit for the Yellow Ribbon Fund. YRF is a non- profit organization created in early 2005 to assist our wounded troops from Iraq and Afghanistan, and their families, while they recuperate at the Walter Reed Army Medical Center and the National Naval Medical Center.

The exhibition on the second floor of Gallery W16 at the Workhouse Arts Center will feature both professional and amateur poets and artists working in collaboration to produce Poetic Art. The work of art will inspire the poet’s words, or the poem will inspire the artist’s creation. The exhibition will be open to the public Oct. 21 - Nov. 20, 2009. An opening reception October 25th, will feature a reading of some of the submitted poems.

The exhibition will feature both invited and juried artists and poets.

All work must be for sale. Artists and Poets will retain all copyrights. LAF will take a 50% sales commission from sold work. The artists/poets will establish a single price for their combined work and determine the division between themselves of sales proceeds. Artists/poets are encouraged to donate a part or all of their sales proceeds back to LAF & YRF.

A full color show catalog will feature the paired art and poem to be sold as part of the fundraiser. Each participating artist and poet will receive a copy of the Show Catalog. However, none of the proceeds from the sale of the Show Catalog will be paid to the artists/poets.

For more details and the prospectus, email martikirkpatrick@lortonarts.org.

Wanna go to an art party on Thursday?



At the last Pink Line project (the Define Live-Work contest) you drank beer, hung out with a drag queen, and listened to opera. You ate sno-cones and played carnival games. You submitted really creative live-work ideas.

You voted.

And the winner of the Define Live-Work contest? Metasebia Yoseph. Congratulations!

Now come back and see the Solea space, which will be transformed by designers Fabian Bernal and Sarah Aburdene, who have been inspired by the winning idea.

*Thursday, August 27*
6 to 8 PM
@ Solea Condo Live-Work Space
1405 Florida Avenue, NW

But wait! There's more!

Soundscapes by DJ Gold and Riddle.
Art exhibit by Albus Cavus.
A raffle for art provided by Albus Cavus.

Plus!
"Art Salon" brought to you by the DC Commission on the Arts & Humanities
Featuring: DJ Iwah and Christylez Bacon

The ZIP Code show

The past, the present, entrapment, enthrallment, nomadism, nowhere and everywhere, drinking beer, making out, secret rooms, contentment, living hell, paint cans, and of course numbers all factor into The ZIP Code Show , happening August 29 - September 5, 2009.

The show, an artdc.org and Art Outlet collaborative event, is being held in partnership with Halstead Arlington and the Columbia Pike Revitalization Organization . It will take place at the Halstead Arlington, a new luxury apartment building at 1028 South Walter Reed Drive in Arlington, VA.

The ZIP Code Show will open and close with Saturday night receptions that will include art, artists, performers (see below), a cash bar, and hors d' oeuvres courtesy of Rincome Thai Cuisine . The work will be on display during the receptions and Tuesday, September 1 through Friday, September 4.

Artists:
Erin Antognoli, Michael Auger, Jennifer Beinhacker, Stephen Dobbin, Cheryl Denise Edwards, Laura Elkins, Rita Elsner, Deirdre Forgione, Vickie Fruehauf, H.A. Gallucio, Ric Garcia, Eve Hennessa, Kevin Irvin, Mishka Jaeger, Jessica Jastrzebski, Angela Kleis, Tara Kocourek, Carrie Marie Lipscomb, Matthew Michael Malone, Stephen Mead, Bono Mitchell, Claudia & Sergio Olivos, Kelly Perl, Linda Plaisted, Caren Quinn, Tariq Rafiq, Jeremy Arn Ramirez, Rhett Rebold, Stephanie Elaine Robbins, Johanna Rodriguez, Lisa K. Rosenstein, Roy Utley, Jessica Van Brackle, Emily Voigtland, Alexandra Zealand

Show dates and times:
Opening Reception: August 29 from 5:30 pm - 12 am
Closing Reception: September 5 from 5 - 10 pm
Gallery Hours: September 1 - 4 from 5 - 7:30 pm

Performances by: Rhythm Worker’s Union (Djembe drumming), Parliament Hill (American folk), KUKU (Nigerian singer/songwriter), Saffron Dance (Belly Dancing), Margot MacDonald (American blues/rock), Wes Tucker (American folk/blues), DC Shorts (film)

When Artists Rip Off Other Artists


From Books By Its Cover

I wanted to take a break today from usual book posting to share something that happened to my friend, artist Lauren Nassef (the first artist I will be publishing as part of the BBIC press series). Yesterday she was alerted by someone who follows her blog that a graduate student from Falmouth University in the UK named Samantha Beeston had stolen her drawings and used them in her own work.

Once we starting doing more research, we found out Samantha won a huge award from Texprint for pattern designs filled with Lauren’s drawings which she claimed as her own. Even her website (which she has taken down since Lauren contacted her) had Lauren’s drawings on the home page and integrated thoughout her portfolio. She was even selling prints of one of Lauren’s drawings she had traced.

With the award she won from Texprint (sponsored by Pantone Europe), she received prize money and a chance to exhibit at two trade shows in Hong Kong and Paris where she can take orders for the (stolen) designs.

She even made a fake sketchbook with many of Lauren’s drawings traced or pasted in.

... Yesterday Lauren alerted everyone involved about what is going on, and since then most of the blogs have taken down or corrected their posts about Samantha’s work. The award and school have been notified so hopefully they’ll take the necessary actions soon enough.

I wanted to write about this today because I am completely shocked and disturbed. I wanted to spread the word, to help Lauren be rightfully credited for her designs. I’m not sure what the lesson here is. Should we be more careful about putting our work online? How can we protect ourselves from incidences like this? I’ve heard horror stories of artists getting ripped off by huge corporations stealing their work. And I’ve seen artists “be inspired” by other artists in manner that is borderline plagiarism. In my opinion all you can do is treat the minor cases as flattery, sue when appropriate, and keep making original work! I hope this whole mess will just draw more positive attention to Lauren’s work, which I think is brilliant and beautiful.

Read the whole post and see more images here and check out Lauren's great drawings here.

By the way, her big Texprint art prize award has been taken back... see that here.

The Six Most Common Mistakes Artists Make When Approaching Galleries

J. Jason Horejs, owner of Scottdale's Xanadu Gallery has published a book titled "Starving" to Successful | The Artist's Guide to Getting into Galleries and Selling More Art.

This book was written "to help you approach galleries in an organized, systematic and professional way." The book will also help artists avoid the six mistakes listed below.

I'll try to get a copy of this book and review it here, but meanwhile you can order the book here and below are the six most common mistakes according to Jason:

This book springs from my experiences with artists. Several years ago, I began to wonder why artists were inept talking to galleries. I quickly realized most were unsuccessful because there is very little information explaining the best strategies.

That lack of information leads to these blunders:

Mistake #1: Presenting an inconsistent body of work.

Artists generally love their freedom. They want to experiment. They love a challenge. They crave variety. All good things, except when you are presenting your work to a gallery.

The work you present to a gallery needs to be unified. It doesn't need to be repetitive or formulaic, but it must present you as a consistent artist with a clear vision.

Often I feel I am looking at the work of multiple artists as I review a single portfolio. To avoid this problem you need to find focus in your work.
If you work in several media and a variety of styles, focus on just one for the next 6-12 months. Create a body of work that feels like a "series". Once you have 20-25 gallery-ready pieces in this series, you will be ready to approach a gallery.

You can further create consistency by presenting the work in a consistent way. Use similar frames for paintings and photographs, similar bases for sculpture, similar settings for artistic jewelry. Make it very clear all of the work is by the same artist.

If you simply can't rein your style in, consider creating multiple portfolios, one for each style.

Don't confuse the galleries you approach with multiple styles in your portfolio.

Mistake #2: Producing insufficient work to sustain gallery sales.

Many artists create marketable work, but in quantities too low to make a gallery relationship viable. Successful artists are consistently in the studio creating artwork. You may be surprised to learn the results of a recent survey I conducted.

I asked artists how many new works they created in the last twelve months. Painters responded that on average they were creating 53 pieces every twelve months. Sculptors 31. Glass artists 500!

A gallery owner needs to feel confident you will replace sold art quickly and maintain high quality. They want to know if you are successful the can replenish their inventory.

Don't despair if you are far from reaching this goal. Rather, look at your creative production for the last year and set a goal to increase the production by 25% in the next 12 months.

Several suggestions to increase your productivity:

1. Dedicate time daily to your art. Maybe your schedule will only allow for two hours daily, but you will produce more by working for those two hours every day than you will by waiting for big blocks of time.

Treat your studio time as sacred. Train your family and friends to respect that time. You don't interrupt them when they are at work; ask them the same courtesy when you are in the studio.

2. Set a production goal. If I could tell you the secret to producing 50, or 100 pieces per year, would you listen? Here it is: create 1 or 2 pieces per week.

I know it seems overly simple, yet few artists work in a concerted disciplined way to achieve this goal.

(A common objection I hear to this suggestion is that quality will suffer if an artist works this quickly. In my experience, the opposite is true. A certain level of quality may only be obtained by putting miles on the paintbrush, spending hours in the darkroom, moving tons of clay or stone.)

3. Remove distractions from the studio. Move your computer to another room. Unplug the telephone. Nothing kills an artist's focus faster than the constant interruption of technology. Your inbox and voicemail will keep your messages safe while you work.

Mistake #3: Delivering a portfolio in a format inconvenient for gallery review.

Often your portfolio is your only chance to show your work to a gallery owner. Poorly formatted portfolios are rarely viewed. Your portfolio should be concise, simple, informative and accessible.

25 years ago, formatting a portfolio was simple. A portfolio was either a literal portfolio with sheet protectors and photos, or a slide sheet.

The choices have since multiplied. CD? Digital hardbound photo-book? Pdf file? Email? Which format is the most effective? None of these, actually. Each has drawbacks limiting effectiveness. They are either too much work for the gallery owner to access, too easy to delete, or too hard for you to maintain.

In my book I will show an example of a perfect portfolio. Easy to maintain, easy to share. Successful.

A couple of things to keep in mind with your portfolio:

1. Your portfolio should contain no more than 20-25 of your most recent works. You should not create an all-inclusive portfolio. A gallery owner does not want to see your life's work. They want to see your best, most current, most relevant work.

2. On each page you should include pertinent, relevant information about the art. Include the title, the medium, the size, and the price. Don't include the date of artwork creation.

3. Place your bio, artist's statement, and resume at the back of the portfolio, not the beginning. Your artwork is the most important feature of the portfolio, don't bury it behind your info. Limit press clippings, and magazine articles to 2-3 pages.

4. Include 2-3 images of sold artwork. You should try to include at least one photo of your artwork installed. These images will establish your credibility more rapidly than any resume ever could.

In "Starving" to Successful I will teach you how to create a powerful portfolio. Your new portfolio will end up in gallery owner's hands, rather than in the garbage can.

Mistake #4: Lacking confidence and consistency in pricing.

One of the greatest challenges facing you as an artist is knowing how to correctly value your work. Many artists price their work emotionally, and inconsistently. Galleries can't sell wrongly priced art.

Worse, nothing will betray an unprepared artist like not knowing how to price his/her work.

Many artists mistakenly under-price their work. They do this because they feel they are not established. They do it because their local art market won't sustain higher prices. They do it because they lack confidence in their work.

In the book I will help you come up with a consistent, systematic formula for pricing your art.

Is your work priced correctly?

Mistake #5: Approaching the wrong galleries.

My gallery is located in an art market dominated by Southwest and Western subject matter. My gallery stands apart from most of the galleries in Arizona because I have chosen art outside the norms. Yet I am constantly contacted by Western and Southwestern artists. They seem surprised and hurt when I turn them away. They could have saved us both some discomfort by researching my gallery before approaching.

Which markets should you approach first? How should you research the galleries? Is it safe to work with galleries in out-of-state markets?

"Starving" to Successful will teach you how to create a list of qualified, appropriate galleries to contact (I will also teach you how to approach them).

Mistake #6: Submitting art through the wrong channels.

Conventional wisdom, and even some highly respected art marketing books will advise you to send your portfolio with a cover letter to the gallery. You may also hear it's best to call a gallery and try to make an appointment to meet the owner. You might visit a gallery's website to learn of their submission guidelines.

In my experience, these methods all guarantee failure. I will share with you a more direct, simpler approach; this approach will tremendously improve your chances of success. The approach is no secret, and yet most artists don't employ it.

Find the solutions to avoiding all these mistakes in the pages of "Starving" to Successful.

In addition to learning how to avoid the mistakes listed above,"Starving" Artist to Successful Artist you will also see clearly how to effectively organize your work, build your brand as an artist, communicate effectively with your galleries, and much more.

I will give you concrete steps you can take to systematically prepare for gallery relationships.

Jason tells me that you may order the book at the pre-publication price of $19.50 (Plus s+h) through 8/25. The first printing is already 3/4 sold out. Learn more about the book and order your copy today at www.xanadugallery.com/book

Please email Jason directly, jason@xanadugallery.com, or call him toll-free at the gallery at 866.483.1306 if you have any questions about the book.

I am interested in your thoughts about these six mistakes, which I think are dead on target. As a gallerist I have encountered (and continue to see) all of them. I'm going to think about six separate mistakes of my own experience as a gallerist and art dealer in dealing with artists and post these here soon. Meanwhile, post your thoughts or experiences in the comments section or email them to me.

Shelly Voorhees at BlackRock

Just a few weeks ago I reminded all of you that BlackRock Center for the Arts in Germantown, MD has one of the most beautiful and dramatic gallery spaces in the region, and the other day I happened to be in that area again and dropped in to see the new show there.

Currently on exhibition are the monochromatic ethereal paintings of Shelly Voorhees, on exhibition through August 28.



It's hard to describe this exhibition without using synonyms for the word "ethereal", and since I've already dropped that adjective once, plant that description in your mind and walk with me through words.

As one enters the very large and very tall space that is the gallery at Blackrock, Voorhees' paintings, most of which are very large, fit well into the space, not only because of sheer scale, but also because of the monochromatic uniformity that they present.

Until you look to your left, that is.

That wall hosts a series of very small, we're talking a couple of inches or so, very well done, and very attractive set of miniature portraits. See some of them here. Every single one of them is a jewel and showcases a very strong technical talent by Voorhees.

You see, as any painter will tell you, it is more often than not harder to create a small, in this case, tiny, work of art that carries a punch, than a larger one. Voorhees succeeds admirably and the wall of tiny works resonates in a visual paradox in this very large gallery.

Salvador Dali said it best when he said: "If you can't paint well, then paint big."

Voorhees has titled the exhibition "Apparitions" and writes about it:

This exhibition is a black and white mixed-media portraiture series of female spirits dynamically represented in moments of contemplation and emotional transition. Besides the apparitional theme, the incorporation of specific artistic elements of texture, depth, layers, luminosity, and motion, are equally important in the expressing of the merging of life's energy with the portraits ethereal.

In this series, I've incorporated the expansive landscape views from my window of Lake Champlain. The natural background of the lake balances the figures beauty with their emotions. The power of the waters help to calm the viewer, and the abstracted horizontal strokes reminds us of the life that moves through us. The women are painted thinly veiled so that you can see the abstracted landscapes through their bodily shapes. I found interest in the translucent figures appearing as if their souls still remain with us. I've exemplified my own take on the traditional idea of apparitions, attempting to humanize the spirits by painting them with simple gestures in unguarded moments of contemplation and transition. These moments are expressions of the duality between movement and the still,landscape and the figure, real and the ethereal. They are psychological portraits that reflect the emotional undercurrents present in even the most unremarkable moments in life, they give tribute to women and the essence of their spirit that is eternal.

While I was there looking at the show, I sat down and observed several families who were walking through the exhibition. The comments from the children seemed to imply that the artist had achieved her goal, as the comments all had a sense of the unusual, ghostly and transitory. The adults mostly commented on the beauty of the works themselves.

Therein lies the key to viewing all these works at once. Voorhees uses resin and acrylic skillfully to deliver a sense of atmospheric presence in the paintings that offer the women subjects as almost a transition in the fog of grayscales, rather than a physical object. She has also chosen a sort of 19th century romantic period "look" for her models, that gives us the kind of women who Julia Margaret Cameron would have loved to photograph.


Shelly Voorhees, Waiting, Acrylic/Resin, 38x26 inches
And yet, as soon as I state this I am confronted by a sense of the opposite in the sense that there also seems to be a modernistic transition in the "look" of the women, trapped in my mind in a 19th century gaze and feel, to a sense of today looking from the past. This is perhaps most visible in "Waiting," which shows a very young 21st century woman lost in 19th century thoughts.

See the show online here.

Alexandria Call for Public Art

Deadline: October 1, 2009, 4 pm (EDT)
Budget: $300,000
Eligibility: Open to all artists or design groups. No geographic requirements.

Description The City of Alexandria, Virginia seeks to commission public art for the new Charles Houston Recreation Center. The process will be managed by the Office of the Arts, a division of the Department of Recreation, Parks and Cultural Activities, with the Alexandria Commission for the Arts Public Art Committee. The City will conduct the search for qualified applicants through a Request for Qualifications (RFQ).

The art will be paid for by private donations.

The purpose of the project is to honor and memorialize Charles Houston and to recognize the historical importance of the former Parker-Gray High School, Alexandria’s first African-American high school.

Charles Hamilton Houston was a nationally-known civil rights leader and NAACP attorney who fought for equality in public education. He became involved with Alexandria when, in 1941, a group of concerned citizens began to petition for a new school and eventually appealed to the NAACP for assistance. Houston took on this challenge and used his knowledge and influence to aid the community in their fight. Their efforts were successful and a new Parker-Gray High School was built in 1950. When Charles Houston passed away one month before the school was dedicated, the community requested that the former Parker-Gray School be renamed the Charles Houston Elementary School in recognition of his important contribution. Years later, the school was demolished and a recreation facility was built that retained the Houston name. This building was later razed to make room for the new, state-of-the-art Charles Houston Recreation Center which opened in February of 2009. When plans for the new facility began, the community indicated their interest in seeking an appropriate way to not only memorialize Houston and his contributions to Alexandria but to also find a way to preserve the history of the Parker-Gray schools. The project's overarching theme is Education and Civil Rights.

Process: Three finalists will be invited to submit proposals. Each will receive a $2,000 honorarium.

Anticipated Award Date: May 2010

Anticipated Installation Date: April 2011

Web Site: http://alexandriava.gov/arts - click on Charles Houston Public Art Project.

Artists or design teams interested in applying to the Request for Qualifications (RFQ) are encouraged to register with the City of Alexandria's e-procure system located online here. All inquires regarding the RFQ should be directed to Dominic Lackey at the City of Alexandria Procurement Department.

Questions may be sent by fax to 703.838.6493 or by email to dominic.lackey@alexandriava.gov.

Please reference the solicitation number and title on the fax or email. For general question related to the solicitation, you may call Dominic at 703.838.4946, extension 600.

Forthcoming Frida Kahlo book denounced as fake

A collection of Frida Kahlo oil paintings, diaries and archival material that is the subject of a book to be published by Princeton Architectural Press on 1 November has been denounced by scholars as a cache of fakes. Finding Frida Kahlo includes reproductions of paintings, drawings and handwritten letters, diaries, notes, trinkets and other ephemera attributed to the artist. They belong to Carlos Noyola and Leticia Fernández, a couple who own the antique store La Buhardilla Antiquarios in San Miguel de Allende, Mexico. The publisher describes it as “an astonishing lost archive of one of the twentieth century's most revered artists...full of ardent desires, seething fury, and outrageous humor”.

According to an interview in the forthcoming book, and to emails from Noyola to The Art Newspaper, the couple acquired the items incrementally from 2004-07 from a lawyer who in turn had acquired them from a woodcarver who allegedly received them from the artist. Noyola tells The Art Newspaper he has more than 1,200 Kahlo items in all.

Read the story in AN here and check out the book here.

Hitler Watercolors Hit the Auction Block

A series of three paintings by Adolf Hitler will be sold on September 5 at Nuremberg’s Weidler auction house. Bidding for the three signed watercolors, made in 1910 and 1911, will begin at €3,000 ($4,270).

Read all about it at AFP here and see the watercolors here.

When actors bite write

"Actress Claire Forlani is accused of wielding a pen that is indeed mightier than the sword ... and killing the reputation of an art dealer in the process.

The former "CSI NY" star is being sued for allegedly crushing the "fragile and intangible" reputation of art dealer Paul Rusconi in a mass email she sent out to a bunch of her friends."

Read the TMZ story here.

Artists' Websites: Grant Silverstein

If my memory serves me right, the second or third show that we ever did back in our first gallery in Georgetown was the amazing work of Grant Silverstein.

Her brother's arrest. Intaglio Etching, 8x8 inches by Grant Silverstein.
We sold a lot of Grant's gorgeous etchings (they are priced as low as $35) and we thought naively, "hey! this gallery business is gonna be easy!"

Tribulations of a Childless Couple. Intaglio Etching, 5x6 inches by Grant Silverstein.

This self-taught artist is a throwback to the masters of printmaking who toiled along and discovered, step by step, the secrets of the printing press. His meticulous etchings have the look and feel of the 15th century but the resonance and dialogue of the 21st.

See his works here and his prices are a great deal for the money.

The Franz and Virginia Bader Fund

Deadline: September 15, 2009

The Franz and Virginia Bader Fund welcomes applications from visual artists aged 40 years or older, who live within 150 miles of Washington, D.C. and can demonstrate that they have the potential to benefit as artists from a grant.

The Franz and Virginia Bader Fund does not, however, accept applications from filmmakers, video artists, and performance artists.

The deadline for applications is September 15, 2009. Application forms may be downloaded from the fund's web site: www.baderfund.org or may be requested by sending an email to grants@baderfund.org or by sending a request to:

Bader Fund
5505 Connecticut Avenue, NW #268
Washington, D.C. 20015