Sunday School

Me: What did you learn in Sunday School today?

Anderson: All about David and Goliath.

Me: Tell me about it.

Anderson: Well... you see.. the Hebrews and the Philippines were at war...

Here comes ABMB

Over the 12 years that this blog has been active, I've discussed many times the experiences of doing an art fair - starting with my first one with the former Fraser Gallery about a decade ago, when "artfairing" was all fresh and new.

Soon we'll be heading to SOFA Chicago, as that formerly 3-D only art fair opens its walls to 2-D work. Right after that we'll head South to Miami for Context Art Miami for our yearly dance at ABMB.

Art Basel Miami Beach takes place December 3-6, 2015, although ABMB itself has become such a magnet for art symbiots of all kinds that the primus inter pares fair now encompasses more than 200 leading art galleries from North America, Latin America, Europe, Asia and Africa which will exhibit artworks by over 2,000 artists at the "real" ABMB.

And as I've noted a million times before here are now well over two dozen satellite art fairs all revolving around ABMB, and quite a few DC area art galleries and private dealers will be represented in several of these fairs.

It's been a long time since the now defused Fusebox Gallery became the first DC area art gallery to venture to the Miami area in 2003; as I recall to show Fusebox artists at The Art Positions section -- those air-conditioned shipping containers right on the beach that sometimes had disastrous encounters with the beach and the ocean.

The more I talk art fairs to gallerists and art dealers the more that it makes sense why a good gallery should do at least 3-4 art fairs a year. Many Mid Atlantic area gallerists note that they could not exist if it wasn't for the art fairs.

"About 75% of my yearly sales now come from the three art fairs that I do each year," related to me an Old City Philly gallerist. "Next year I am going to apply to double that number."

I hear a similar story from DC area gallerists, some of which are now even exploring art fairs in Europe and Latin America, as the sales continue to climb more and more at the fairs, and the appetite for the European Euro is discovered.

Galleries such as Connersmith, Morton Fine Art, Adah Rose and others all work very hard and do fairs all over -  the fact that they keep coming back to fairs is indicative of the success of their attendance to the fair; it costs a truckload of money to do an art fair... in other words, since most art galleries are run on a very tight budget, if you blow a couple of fairs in a row, you may be out of business, or worse, forever disinclined to do another fair (instead of re-examining the gallery's approach to the art fair, as art fairs are not "art shows" in the sense that a gallery puts a show in their spaces).

This is a bitter lesson that many DC galleries have also learned... the ones which used to do art fairs, but no longer do them.

Moral of the story: If you are a gallerist, you owe it to your gallery and to your artists to start thinking of a smart exhibition program approach to the art fair and applying to the high quality art fairs - not the bad ones.... therein lays the key.

This doesn't mean that the "new" art model is just art fairs; far from it. There are such models, and several private art dealers do great in getting into art fairs and selling loads of work.

But they do not contribute to their city's cultural life. And that's OK... a city's cultural tapestry has many members and parts, including private art dealers.

However, an art gallery, a good art gallery anyway, is not just an art store, but an integral and key part of the cultural tapestry of a city. As my good friend John Pancake (former Arts Editor of the WaPo when the WaPo had Arts Editors) once told me, "a heroic venture."

And so the true and valid model for a good and reputable art gallery seems to be a mixture of a brick and mortar establishment (or in the new paradigm: a former brick and mortar gallery which has closed shop and is now just an online venture that does art fairs), a substantial and organized and updated web and digital presence, and a healthy assortment of art fairs.

Gallerists: Start applying now for 2016 - Alas many 2016 deadlines have already passed! Or stop complaining about being unable to sell artwork in your local market.

New Arrivals 2015 at the University of Maryland Stamp Gallery

Eric Hope has an excellent review of UMD's long-running and most excellent student-curated acquisition program; read it here.

For TBT: Masters and Pretenders at the Nation's Capital (from 1990s)

For Throw Back Thursday - Below review was originally published in the early 1990s in Dimensions magazine and the El Eco newspaper chain - it still lives online here.

The summer art season is well underway in Washington - Ranging from American master James McNeil Whistler to Dutch artist Piet Mondrian, a wide variety of exhibits will be on display through most of the summer in and around the Mall, and are sure to satisfy, bore and entertain art lovers and visitors alike.

Artists who dabble in many media and subjects (with the notable exception of Picasso) are often viciously dubbed as "jack of all trades and masters of none." Piet Mondrian (1872-1944) can justifiably be called a "jack of one trade and master of that one trade." Simply put, Mondrian was little more than a graphic designer who simply re-arranged black lines and color rectangles over and over. 

In the end, he contributed hugely to modern design, and probably made the biggest impact of any 20th century artist upon daily common items. His images have become familiar in dresses, book covers, refrigerator doors, wallpapers, tiles and even bed sheets to name a few. 

Per two of the guards at the National Gallery, the show has so far been received mildly by the public (it was generally ignored by Dutch crowds in its debut showing in The Hague). 

The Hirshhorn Museum is showing the work of Irish-American artist Sean Scully; this exhibit is a good follow on to the Mondrian exhibit; try to see them both in the same day. Scully is one of the most successful painters of his generation (he maintains studios in New York, London and Barcelona) and is a direct product of the award machinations of the National Endowment for the Arts (NEA). 

Spanish master Salvador Dali once said that if "you can't paint well, then paint big," and this appears to be a maxim to Scully's works at the Hirshhorn, a series of 62 gargantuan paintings on display as a 20-year retrospective. Strangely reminiscent of giant quilts and jigsaw puzzles, the paintings sometimes baffle the honest viewer. The 15 by 19 foot "Angelo" (1994), which is representative of Scully's recent works, was compared to a giant Rubik's cube by an visitor while I was looking at the painting; I agreed. 

Alfred Stieglitz, one of the great masters of photography is on exhibit at the Corcoran Gallery. Perhaps the first superstar photographer of the 20th century, Stieglitz introduced unique portraits of Georgia O'Keefe and Pablo Picasso which have become art history icons. He is credited with being the catalyst which brought photography into the realm of fine art. 87 of his pieces on exhibit at the Corcoran are ample evidence of the well-deserved title of "fine art" when dealing with his works. This is a magnificent show from a remarkable man and tremendously important artist; it should not be missed! 

In a jump from the sublime to the mundane, the National Gallery's "Arshile Gorky: The Breakthrough Years," delivers four rooms full of work by the man anointed by Andre Breton, the high priest of surrealism, as the "last of the surrealists." 

Armenian born Gorky was fond of saying that the "origin of his work was in Armenia." A stroll through the exhibit quickly brings to mind the question that perhaps the origin of his works may be in the art of Spaniards Picasso and Miro, and even the work of the father of abstraction, the Russian Wassily Kandinsky. 

A tormented artist, Gorky struggled to find a place while being overly influenced by the true giants of his generation; he died at the early age of 44 in 1948. Had he been living today, I suspect he would be painting in the style of Scully or some such other modern "master" who happens to be "in." 

Finally, the work of (and portraits of) one of the better known masters, American James Abbott McNeill Whistler will be on exhibit both at the National Gallery of Art and the National Portrait Gallery. Critics once denigrated his works as "decorative" and "formalized;" they were wrong. No review is needed of the great work of this true master, a modern 19th century Velazquez - Don't miss this show!

 

Coming up: Open Studio Weekend - A Festival of the Arts

November 7th-8th, 2015 Washington ArtWorks, Montgomery County’s largest visual arts facility, opens its expansive 30,000 square foot visual arts center in Montgomery County to the public for its bi-annual Open Studio Weekend: A Festival of the Arts filled with art, shopping, film screenings, food trucks, live music, and more! 

Over 70 artists occupy studios at Washington ArtWorks where creativity abounds for artists working in sculpture, painting, glass, fibers, jewelry, photography, and more. Each artist not only creates works of art, but also runs their own business from their studios where visitors shop, watch demonstrations, and network with some of Montgomery County’s finest artists. 

During Open Studio Weekend: A Festival of the Arts, food trucks, Holy Crepes, Balkanik Taste, and Curley Q’s BBQ will fill Washington ArtWorks’ free, large parking lot with smells of sweets and savory treats while local bands play live music. 

Films by video artists from Rockville to the Philippines will be screened throughout both days while recycle and reuse sculpture competitions allow adults and children to get creative with found objects and art. 

“This festival is going to be the largest that Washington ArtWorks has seen to date. With 70 artists working across a variety of mediums, delicious food trucks, great, live music, films from across the globe, and art-themed games, Open Studio Weekend: A Festival of the Arts at Washington ArtWorks is going to be an event no one will want to miss” says President and CEO, Missy Loewe.

Open Studio Weekend: A Festival of the Arts will be held from 12:00pm – 5:00pm both Saturday and Sunday, November 7th and 8th. Conveniently located at 12276 Wilkins Ave., Rockville, MD 20852, the arts center offers free parking and easy access from Twinbrook Metro Station.

Washington ArtWorks at 12276 Wilkins Avenue in the Twinbrook area of Rockville, Md, offers workshops, exhibits, and outreach programs to serve the visual arts community and the public in the National Capital Region. Additionally, the organization created “ArtWorks Aid”, to provide charitable services to members and causes of their community.  Please contact Natanya Khashan at 301-654-1998 or Natanya@WashingtonArtWorks.com for more information. 

Opportunities for artists

The Morris and Gwendolyn Cafritz Foundation Arts Center 2016–2017 EXHIBITION SERIES | Time: Entropy and Change

The concept of entropy is often defined as nature’s tendency to move from order to disorder. Other ideas associated with entropy are: a lack of predictability, change in condition or appearance and gradual decline over time into disintegration or dissolution. In nature, this phenomenon is seen in the slow degradation of elements such as stone or wood, or in a myriad of other possibilities. Time is the key to both entropy and change, whether in nature or in human lives.We invite artists to propose an individual or group exhibit that expresses or relates to these intertwined concepts.  

The Department of Visual and Performing Arts is calling for exhibition proposals for the Open Gallery in The Morris and Gwendolyn Cafritz Foundation Arts Center that address the theme, “Time: Entropy and  Change”. Four exhibitions will be scheduled for the 2016–2017 academic year. 

Application Process
Eligibility: Applicants must be at least 21 years of age. Current Montgomery College students are not eligible to submit proposals.
Eligible works: The Open Gallery is primarily linear wall space that can accommodate two-dimensional works up to 54” tall. Freestanding, pedestal, and wall hung three-dimensional works up to 75lbs. will also be considered. Video and digital works that can be displayed on monitors will be considered. Video projections are not eligible. A floor plan of the gallery is available on our web site, http://cms.montgomerycollege.edu/arts-tpss/exhibitions/opportunities.html 

Deadlines: All proposals must be received by April 8, 2016 to be considered. Applicants will be notified by June 1. 

Submission: Mail or deliver all proposal materials in one envelope to:
Claudia Rousseau, Exhibitions
Committee Montgomery College, TP/
SS Campus7600 Takoma Avenue,
CF-128 Takoma Park, MD 20912 

Application materials can be obtained here.

DC Alley Museum

The DMV is now becoming known for fresh (non-historic) public art and vibrant mural painting done by our living artists. A coalition of painters from the region have come together and created the DC ALLEY MUSEUM in BLAGDEN ALLEY – opening 24/7 on Friday OCTOBER 30TH in downtown WASHINGTON DC.

Just a few blocks from the now trendy Blagden Alley, there once was a Museum of Temporary Arts, a d.c. space, a Washington Project for the Arts, and in the Shaw neighborhood alley, there were spaces known as The Fight Club, The Warehouse, and Signal 66, not to mention dozens of artists and production businesses like City Lights and Eco Media, all in venues created by artists for the presentation of their work.

The DC ALLEY MUSEUM builds on this tradition in a fresh way while celebrating the temporary nature of outdoor artworks and life. Beginning in 2015 a series of works were commissioned by artists with a history in the Shaw neighborhood and the alley -- BILL WARRELL, LISA MARIE THALHAMMER, ROZEAL BROWN, ANIEKAN UDOFIA, CITA SADELI CHELOVE.

They have created a stunning display of new works painted directly on the garage doors of several buildings. In the coming year more artists will be commissioned from across the city to fill more blank garage doors and walls. The museum will expand to include video documentation of the multi-year project, connecting new generations of artists with some of our city’s “old masters.”

Murals get the artwork of painters out into the public sphere in a uniquely bold and playful way, a great way to educate the public about local artists living and working in their community. Imagine a Museum that features DC artists open 24/7 without restrictions (no hours, no guards, cameras encouraged); welcoming the entire city to stroll or drive through, stop in the LA COLOMBE coffee shop and pick up your postcard/map of the DC ALLEY MUSEUM and join in the art, music and celebration.

This wonderfully serious artwork is made possible with a grant from the D.C. COMMISSION ON THE ARTS AND HUMANITIES • PUBLIC ART BUILDING COMMUNITY PROGRAM and the BLAGDEN ALLEY NEIGHBORS that supply the canvas for some of DCs finest artists.

FOR FURTHER INFORMATION   https://www.facebook.com/events/434721746728129/ 
OR Contact: Lisa Thalhammer lm@lisamariestudio.com or Bill warrell@dciproduction.com

The tale of "A Regatta on the Grand Canal"

A lengthy dispute over a Venetian regatta scene by Vincenzo Chilone, confiscated from a Jewish family in Nice in 1943, has been resolved by Art Recovery Group.

Following the German invasion of France in 1940, the collaborating government established at Vichy adopted many of the Nazis’ anti-Semitic policies, including the systematic confiscation of Jewish property. Among the first art collections in southern France subjected to seizure and forced sale was the extensive collection belonging to John Jaffé, a prominent textile merchant, and his wife Anna.

The Jaffé Collection was considered one of the finest privately-owned art collections in France and comprised works by Goya, Fragonard, Rembrandt, John Constable and JMW Turner. Following the death of Anna Jaffé in 1942, the collection, bequeathed to her niece and three nephews, was promptly seized by pro-Nazi French authorities. Encouraged by Karl Haberstock, a prominent Nazi art dealer, the entire Jaffé Collection, totalling over 200 works of art and property, was deposited at the Hotel du Savoy, Nice, in June 1943 and scattered through a forced sale.

Among them was ‘A Regatta on the Grand Canal’ by Vincenzo Chilone (1758-1839), a small Venetian festival scene valued today at £60,000 ($90,000/€80,000). At the time, the painting was attributed to Bernardo Bellotto, a pupil and close follower of Canaletto’s.

In private hands ever since, ‘A Regatta on the Grand Canal’ last appeared on the open market in 1985 at Sotheby’s, London, and was purchased in good faith by an Italian collector unaware of the work’s history. On notification of the historic claim attached to the Chilone, the collector contacted Art Recovery Group to oversee the restitution process and to organise a just and fair resolution with the Jaffé heirs.

Art Recovery Group reached out to Alain Monteagle, great-nephew of Anna Jaffé and representative of the 11 living claimants to the family’s spoliated collection, and an amicable resolution was agreed shortly thereafter.

Commenting on his family’s restitution efforts, Alain Monteagle, said:

"I’m often asked why we continue to look for looted works of art so long after the end of the war. Firstly, giving up would mean that Hitler and his accomplices have won in one of their aims. The Nazis tried to destroy an entire civilisation, a cultural treasure of mankind, but looking for these looted works helps us to understand our past and the lives of our families some of which have been lost forever.

"But more importantly, if we do nothing then what deterrent does that give for the art looters in many places in the world today? Why would they stop? Or even museums or dealers - why would they care that there are still blood stains on the paintings they buy?"

Christopher A. Marinello, CEO of Art Recovery Group, added:

“We are very pleased that the Jaffé heirs can have closure on a dispute spanning seven decades and we hope that this resolution will encourage the art trade to be more receptive in its recognition of Nazi-era claims. Resolutions like these are only made possible when information about historic losses is shared, so we encourage all claimants to register looted objects at no cost on the ArtClaim Database.”

Pursuant to the terms of a confidential settlement agreement, ‘A Regatta on the Grand Canal’ will be auctioned at Christie's in an upcoming sale.

Sam Gilliam Finally Takes Off

From Bloomberg:

In the late 1960s, the American artist Sam Gilliam started to make “drape paintings,” wherein he would cover canvases with paint and hang them from the wall without stretchers. The paintings became sculpture, and the paint itself—acrylic pigment mixed with resin—a type of construction material.

 Much like the output of his contemporaries (Gilliam came a few years after Morris Louis, Helen Frankenthaler, and Kenneth Noland), his work falls in the Color Field genre of painting, an abstract, postwar movement that turned canvases into flat picture planes. But unlike those same contemporaries, Gilliam has been almost entirely neglected by the art market until fairly recently. This April, his work achieved its highest auction result ever, when a 1969 painting with a high estimate of $60,000 sold for $197,000 at Swann Auctions in New York. In contrast, Frankenthaler’s auction record is $2.8 million; Noland’s auction record is $2.1 million; and Louis’s is just under $3 million, or approximately 1,400 percent more than Gilliam's best.

Last Call for AOM!

From the AOM folks:

Artomatic 2015 is ON and there are just a few spots left for YOU to show YOUR art or performance skillz!  Never exhibited before? We want you to join us!!  Seasoned artist?  Don't hesitate any longer!  Did you know you can SELL your ART at Artomatic?  Sign up and join the party!

Anyone can participate in Artomatic - there are no criteria to register, and space is allocated on a first come, first served basis. TIME IS TIGHT AND WE WANT YOU!

Artomatic routinely attracts more than 70,000 visitors to see work by more than 700 artists, and more than 300 performances. The Maryland-National Capital Park and Planning Commission (M-NCPPC) Department of Parks and Recreation is hosting Artomatic in a 90,000 sq ft building in Prince George's County. 

October 30th - December 12th 

8100 Corporate Drive, Hyattsville MD 

right by the New Carrollton Metro Station

REGISTER NOW through the link below so you can start planning your exhibit.  For only $125, your artwork/installation will be on display for 6 weeks, 7 weekends by thousands of visitors.   Sale terms are between you and the buyer.  It doesn't get better than this!  

>> ARTOMATIC 2015 ARTIST REGISTRATION LINK

For more information or to volunteer and help us put on this huge show please visit  http://2015.artomatic.org/ Should you have additional questions, please do not hesitate to contact us at registration@artomatic.org.  

We look forward to having you with us at Artomatic 2015! 

 

LAST CHANCE - Register today!!

WSS turns 30!

2016 Art Works for Virginia Conference Speakers and Topics

The 2016 Art Works Conference will be held on January 27th, 2016 at the Greater Richmond Convention Center.
The one day conference titled "Flourish! How the Arts Will Thrive and Grow in the Next Decade" will feature:

• a keynote address,
• plenary panel discussion
• a luncheon with entertainment from a Performing and Touring Roster artist
• 5 repeating break -out sessions
• 3 workshops
• a concluding reception

The entire program will take place in the Convention Center on the 27th. A limited number of rooms are being reserved for our conference at the Hilton Garden Inn across the street.  Please book early to secure the best available rates.

 

NOTE: The online "Early Bird" registration for our conference will be up and live later this month.

 

The list of topics and speakers so far include:

Keynote Speaker, Sheila Johnson, a nationally known business leader, arts patron, education advocate and a musician in her own right. She will speak on the theme in the title: what it will take for arts organizations to thrive and grow over the next ten years.

A Plenary Session Panel will include our 5 break-out session leaders discussing arts sustainability and the challenges for arts organizations over the next ten years. They will be highlighting the areas they will be covering in the afternoon sessions:

Nello Mc Daniel, Director of Arts Action Research: Strategic Planning that serves as a roadmap to success and achievement instead of an impediment to your mission.

Russell Willis Taylor, recently of the Center for Non-Profit Excellence: Building a Sustainable Business Model that works for non-profit arts organizations in an increasingly competitive market.

Margy Waller, Senior Fellow at Topos Partnership and Founder of Arts on the Streets: Partnerships that Work so you can team up with local business and government leaders to create cultural arts destinations and districts in your own area.

Sarah Cunningham, Virginia Commonwealth University: Key Fundraising Strategies and Resources That Get Overlooked to help you secure the dollars and the opportunities that you may not even know about!

Amy Nisenson, Director of the Mary Morton Parsons Foundation: Building the Board You Need for the Next Decade so you can achieve the outcomes to keep your organization successful and growing.

 

Our featured luncheon artist will be Victor Haskins and his trio. Victor is a member of the VCA Performing and Touring Roster.

 

After lunch, each of our 5 presenters will conduct 2 sequential break-out sessions on their respective topics.

 

For our mid -afternoon sessions we will host three concurrent, non-repeating workshops on the following topics:

 

Marketing: How to Attract and Retain a Loyal Following. What are the communication and branding strategies you need to flourish.

Arts Therapy and Community Partnerships for Military and Veterans. What do these populations really need and how can arts organizations help?

Arts Education Beyond the SOL's. How do you leave a lasting impression and a creative imprint with your educational outreach?

 

A final list of participating leaders for the workshops will be announced later in the month.

 

At the conclusion of the day, we hope you will stay and mingle for our social hour and networking reception.

 

Watch for further details and for our Early Bird Online registration later this month. And SAVE THE DATE OF JANUARY 27TH for "Flourish! How the Arts Will Thrive and Grow in the Next Decade".

 

On Columbus Day

If you think that you know early American history (I thought I did), then read A Voyage Long and Strange: Rediscovering the New World by Tony Horwitz and prepare to be left not only open-mouthed but well informed and armed with a spectacular knowledge of early American history seldom discussed in school.

"By the time the Pilgrims came to Plymouth, St. Augustine was up for urban renewal"

- Michael Gannon
Prof. of History
University of Florida

And ahhh... Mr. Damon Young... Columbus did NOT discover "our amazing country", in fact he never set foot in North America... cough, cough...

Art in Embassies Program

Established by the United States Department of State in 1964, the ART In Embassies Program is a global museum that exhibits original works of art by U.S. citizens in the public rooms of approximately 180 American diplomatic residences worldwide.

To submit images to ART staff for consideration in upcoming exhibitions please e-mail .jpg or .gif images of your works no larger than 50k in size, to: artinembassies@state.gov. Website: http://art.state.gov/default.aspx

Welcome to DC to Peter Nesbett: WPA's new CO

As I noted a few days ago, the WPA has a new Commanding Officer - here's their official news release:

Washington Project for the Arts is pleased to announce the appointment of Peter Nesbett as our new Executive Director and the opening of Washington Produced Artists on November 14, 2015. This announcement comes on the eve of our 40-year anniversary and our upcoming move to The JBG Companies' Atlantic Plumbing development at 8th and V street NW, in the U Street Corridor and cultural district.

Peter's proven leadership and more than 20 years of experience with contemporary arts will further solidify WPA's place in the local, national, and international artistic community.

 

Upon taking office on November 2, Peter will enjoy a full immersion into the DC arts community by meeting with more than 100 artists in his first 100 days as Executive Director.

 

Prior to WPA, Peter was the Associate Director for Programs at The Pew Center for Arts & Culture, a subsidiary of The Pew Charitable Trusts in Philadelphia. He oversaw the capacity-building and professional development programs, while serving as the visual arts specialist. Peter's interest in programming for artists and arts professionals was originally seeded in the 1990s when he led the Seattle Art Museum's Contemporary Art Council and worked in its education department.

 

"Peter is the complete package. He's well educated, has deep curatorial experience, and he really 'gets' the contemporary and alternative visual arts scenes," says WPA Board of Directors member, Elise Hoffmann. "His compelling vision and commitment to centering WPA within the local arts community is just what we need right now."

Here's a good start for the 100 artists to meet (we'll since this is the DMV, by now around 90, since I am sure that about a dozen or so have already moved!

Lecture on Cuban Artists

The kid yapping about Cuban art at the Latino Art League last night...

Come to this tonight!

A discussion of the realities of Cuban history, life, and culture as viewed through the artwork of Sandra Ramos, Marta Maria Perez Bravo, Cirenaica Moreira, Aimee Garcia Marrero and Maria Magdalena Campos-Pons.

Washington ArtWorks | October 9, 2015 | 6:30 pm - 9 pm

12276 Wilkins Ave, Rockville, MD 20852
(301) 654-1998

Assistant Professor of Photography Wanted

Towson University
Deadline: Ongoing

The College of Fine Arts and Communication invites applications for a tenure-track, 10-month Assistant Professor of Photography in the Department of Art + Design, Art History, Art Education beginning August 2016.

Qualifications: MFA in Studio Art. Qualified applicants will demonstrate expertise in photography as defined broadly to include applied and conceptual issues and practices with experience in both analog and digital photographic processes. Additional experience with video, sound, installation, or other new media is welcome. Applicants should be conversant in the ways that technology is changing the nature of photography and shaping photographic practice. Possess a strong commitment to excellence in teaching and the aptitude to contribute to a collaborative working environment. Willingness to contribute to interdisciplinary initiatives, to incorporate new technologies into the curriculum and ability to work across disciplines is also a necessity. Teaching beyond the graduate teaching assistant level is preferred, while an active record of professional development is essential.

Responsibilities: Teach 4, four credit classes (6-7 course units) per academic year at undergraduate and graduate levels as assigned for the first year. Beginning the second year the workload reverts back to the -standard instructional workload of 5, four credit courses (7-8 course units). Advise majors and work collaboratively with other photo faculty in regard to budget, procurement and scheduling. Help manage the photography studio, darkroom and print center as well as help to maintain and oversee equipment, supplies and software.

Application process and full position listing can be found at: http://www.towson.edu/provost/provost/facultypositions/

Peter Nesbett at the WPA

Kim Ward's and Lisa Gold's contributions to the DMV's art scene will never be recorded in a book or TV documentary, but they are huge, and thanks to Al Gore's Internet, they have been recorded over the last decade here is this ass-kicking blog.

Thank you ladies, for steering the WPA through very rough seas. Most DMV area artists have no idea how much they owe you (Personally I owe Kim a fuckload of gratitude, as I met my wife in a show that I curated for the then "WPA/Corcoran")... The Kimster can never do wrong by me!

The WPA has a new leader, who not only has some big shoes to fill (cough, cough... as both Kim and Lisa have tiny feet) but also comes to the WPA as a re-energized artist organization.

Peter Nesbett (in this really good article by my arch nemesis Kristooon Kapppps) appears to be the right point guard for the WPA, and the Lenster welcomes him aboard.... Gotta admit though that I'm not a big fan of Darrow's pic of him (not your fault Darrow... it's the cross-arm staring pose that kills it)... but D-dude, you nailed it with my pic!

Nesbett has only just this month moved to D.C. from Philly, so his first order of business here is meeting the city’s artists—literally. Nesbett is looking to get an audience with 100 artists over his first 100 days on the job. He has a ton of programming ideas, he says, but he doesn’t want to lead with any of them—not until he gauges what at least 100 artists want the WPA to be doing.

Ok Pete... call me... I got a 11 ideas for you as to what the WPA should be doing to kick ass and take names in the nation's capital and other places... empirically-based ideas, not anecdotal or touchy-feely ideas... these are really gooooood ideas Pete! You've got my cell and email...

But above all: Welcome to the DMV! 

Lo que no mata... engorda!

The Song of the Mischievous Dog by Dylan Thomas

The Song of the Mischievous Dog by Dylan Thomas... as interpreted by a six-year-old:

Anderson Lennox Campello: I think of someone eating a hot dog, the guy who wrote this poem eating a hot dog.

 THERE are many who say that a dog has its day,
And a cat has a number of lives;
There are others who think that a lobster is pink,
And that bees never work in their hives.
There are fewer, of course, who insist that a horse
Has a horn and two humps on its head,
And a fellow who jests that a mare can build nests
Is as rare as a donkey that’s red.
Yet in spite of all this, I have moments of bliss,
For I cherish a passion for bones,
And though doubtful of biscuit, I’m willing to risk it,
And I love to chase rabbits and stones.
But my greatest delight is to take a good bite
At a calf that is plump and delicious;
And if I indulge in a bite at a bulge,
Let’s hope you won’t think me too vicious.