Women Artists of the DMV - All that you need to know!

WOMEN ARTISTS OF THE DMV

Describe the organizing principle(s) of the exhibition.

The “elevator pitch” or how I would describe the project in 30 seconds.

·   Me talking: This exhibition will be the first ever survey of female visual artists from the DMV (“local” acronym for District, Maryland and Virginia – or the Greater Washington, DC Capital region) ever done – it will be staged in six seven eight major art spaces in 2025 in each state area bordering the District: they are the American University Museum at the Katzen Arts Center at American University in DC, The Athenaeum in Alexandria, and The McLean Project for the Arts, both in Virginia; and Artists & Makers Galleries and the Galleries at Strathmore Mansion, both in Rockville, Maryland, Pyramid Atlantic Art Center in Hyattsville, MD, The Writer's Center in Bethesda, MD, and the Montpelier Arts Center in Laurel, MD.

Project genesis, its development and its relevance today.

The Greater Washington, D.C., capital region (the DMV) is not only home to some of the best art museums in the world, dozens of commercial art galleries, non-profit art spaces, alternative art venues, and art organizations, but it also supports and fertilizes some of the best and most creative visual art scenes in the nation.

Celebrating this art scene, which spreads across the three areas that make up the DMV, local DC area curator, artist, and arts activist Florencio Lennox Campello (that's me again in fancy words) proposed in 2023 to curate an exhibition of 100-150 works by 100-150 women artists comprised of both leading and established female artists plus talented emerging contemporary female visual artists who represent the tens of thousands of women artists working in this culturally and ethnically diverse region in order to assemble a group show to showcase the immense power of the visual arts being created by these artists.

In late 2024, led by the American University Museum at the Katzen Arts Center in DC, and as part of the generous Alper Initiative, five other DMV art venues agreed to co-stage the show, which will run the six separate art spaces starting in September 2025 for 6-12 weeks. 

Three days after its announcement, over 1,000 entries came in (and are still coming), delivering empirical proof of the depth, diversity, and range of the of the exhibitions. As the date of this post, nearly 3,000 entries have been received.

In an effort to be more inclusive, the mechanics of the exhibition were revised to be able to archive and exhibit in some manner or form all the artists. This will be accomplished as follows:

• All artists will be documented for the Smithsonian Art Archives as follows: A flash drive which would contain a PowerPoint presentation documenting all 3,000+ female artists who (so far) submitted art for consideration, and one image per artist.  Additionally, in view of how fast technology ages, the documentation will also include a digital screen device (a digital frame) to “play” the PowerPoint presentation as needed in the future.
• The referenced PowerPoint presentation will be projected onto the walls of the Katzen Museum at American University during the duration of the exhibition (September through October 2025).

About the participating artists.

At this point, we have over 200 250 female artists selected for the six-venue exhibitions, which will include 2D, 3D, video, and performance art. Others may be selected on an ongoing basis, after studio visits, artwork review, etc. As of the date of this post, review is still ongoing - if you are a female artist from the DMV and wish to be reviewed, simply send an email with your website and/or Instagram feed to lenny@lennycampello.com - All reviews will end April 30, 2025.

How to enter or be reviewed

Simply send an email with your website and/or Instagram feed to lenny@lennycampello.com

How were they selected, by whom, why, what work will they be showing?

Who: The artists are being selected by Florencio Lennox Campello, a well-known and respected DC area artist, curator, writer, and artist (that's me again). A DC area resident since the late 80s, Mr. Campello was once described by the Washington City Paper as “one of the most interesting people of Washington, DC.”  In 2011 he authored “100 Artists of Washington, D.C.” (Schiffer Publishing, Atglen, PA), and his art blog, Daily Campello Art News is ranked among the top 15 art blogs in the world and has received over seven million visits over the last 20 years.

Deadline: April 30, 2025

Why me? Few people know the DC area art scene like Campello. Over the last few decades, he has curated or organized over 200 visual art shows. Furthermore, he has ample experience organizing and curating shows of this large scale.

He has the proven background and experience to curate large, multi-space art survey exhibitions. In 2007 he curated “Seven”, a seven-gallery exhibition across various spaces in Washington DC that surveyed the thousands of artist members of the Washington Project for the Arts (WPA)/Corcoran. Over 6500 slides (remember slides?) were reviewed by Campello and a nearly a hundred artists selected for the multi-gallery show, which received multiple reviews in the press, both local and national.  Earlier, in 2001 Campello curated “Contemporary Realism: A Survey of Washington Area Realists” for the Athenaeum in Alexandria – another show that exhibited over 60 artists and received wide reviews in the regional and national press. 

Furthermore, as he has previously done with great success, Campello has engaged a variety of Greater DC area visual arts curators, gallerists and collectors to “crowd source” portions of the exhibitions; each person will nominate anonymously up to 10 artists for consideration to be included in the show.

Why this show? To survey the key, established female artists of the Greater Washington, DC region, mid-career artists, and just as important, identify the emerging female artists who can benefit from this exposure.  Additionally, as done in previous curated shows, Campello has approached and received the commitment of several Greater DC area gallerists, museum curators, and collectors to attend several guided tours of the exhibitions.  The goal here is to force the exposure of these artists to some of the key members of the city’s visual arts tapestry.  This is a proven process for success; for the previous “Seven” multi-gallery show, 28 of the artists were offered representation and/or solo gallery shows as a result of the exposure in the exhibition.

What work will they be showing?

All genres of the visual arts will be considered, to include public art. Each artist will have one work selected by the curator. Repeat: Each artist will have one work. Each artist will be assigned one of the six venues to exhibit their selected work. It is the responsibility of the artist to prepare the work, deliver it to the assigned venue by the assigned date (to be announced later this year), and fill out the specific venue forms to document the work. It is also the artist's responsiblity to pick up the work after the exhibition at the venue.

Can work be sold?

Work can be for sale at all venues EXCEPT the Katzen Museum at AU. Each venue has a site specific agreement with commission details, etc.

Presentation standards

All selected work must be presented to full professional gallery/museum standards: Unless otherwise designed to hang (such as textiles), 2D work (drawings, watercolors, photographs) must be framed and if needed under glass/plexi. Work on canvas can be "gallery dressed" at the edges. Frames cannot be scratched or otherwise not presentable for a professional exhibition.  Most venues require the use of hanging wire (not stiff ordinary wire) and do not allow sawtooth hangers.  Address any questions to lenny@lennycampello.com 

How will participation in this show help to further their career and/or creative practice?

Exposure – As noted earlier, the curator will coordinate both group and individual walk-throughs of the exhibition with key DC area curators, collectors, gallerists, etc. This is a proven tactic to get artists, especially emerging artists, noticed.

Expanding the footprint - So far, the curator has secured intentions to cover the exhibition by multiple DC area news organizations such as The Washington Post, NPR, two local radio stations, and one local TV station.  More are being cultivated at all times.

Boot camp for artists – As part of the process, participating artists will be invited to participate in the curator’s “Boot Camp for Artists” seminar, a 4-hour free seminar which over the last 30 years has been presented to over 6000 artists and arts professionals. The seminar is designed to deliver information, data and proven tactics to allow artists to develop and sustain a career in the fine arts.

1. Materials - Buying materials; strategies for lowering your costs, where and how to get it, etc.

2. Presentation – How to properly present your artwork including Conservation issues, Archival Matting and Framing, Longevity of materials, a discussion on Limited editions, signing and numbering, Prints vs. Reproduction, discussion on Iris Prints (Pros and Cons).

3. Creating a resume - Strategy for building your art resume, including how to write one, what should be in it, presentation, etc.

4. Juried Shows – An Insider's view and strategy to get in the competitions.

5. How to take images of your artwork

6. Selling your art – A variety of avenues to actually selling your artwork, including art fairs, outdoor fine arts festivals, corporate acquisitions, galleries, public arts, etc.

7. Creating a Body of Works

8. How to write a news release

9. Publicity – How to get in newspapers, magazines, etc. Plus, handouts on email and addresses of newspaper critics, writers, etc.

10. Galleries – Discussion on area galleries including Vanity Galleries, Co-Operatives, Commercial Galleries, Non-profit Art spaces, etc.

11. How to approach a gallery – Realities of the business, Contracts, Gallery/Artist Relationship, Agents.

12. Outdoor Art Festivals – Discussion and advice on how to sell outwork at fine arts festivals, which to do, which to avoid, etc.

13. Resources - Display systems and tents, best juried shows and ones to avoid.

14. Accepting Credit cards – How to set up your art business.

15. Grants – Discussion on how to get grants in DC, Regional and National, including handouts on who and where and when.

16. Alternative Marketing - Cable TV, Local media

17. Internet – How to build your website at no cost, how to establish a wide and diverse Internet presence.

18. Art fairs - A strategy on how to participate in gallery art fairs

Information as about the catalogue and book.

American University will publish a catalogue about the artists selected to exhibit at the Katzen Museum. Each artist whose work is exhibited at the Katzen will have an individual essay written about their work and a large image of their selected work.

Additionally, the curator is currently negotiating with Schiffer Publishing for the publication of a hard cover art book to include 100 of the selected artists in the large format book. Each artist will have an individual essay written about their work and a large image of their selected work.

Update: Schiffer Publishing has decided not to go forward with the book proposal.

Here’s a sample chapter:

In 2022 was my distinct and unique honor to serve as the 2022 Paint the Town juror for the Montgomery Art Association, which together with the town of Kensington, Maryland stages an annual visual art exhibition and competition in the city’s ample Town Hall and on the streets of beautiful Kensington, just outside of the District of Columbia.   

As all great shows are, this was an immeasurably difficult show to judge, which is a good thing! The quality of entries was uniformly superior in almost every category, and the difference between first, second, third, and even some honorable mentions was minimal.

It was at this show that I was first astounded by the paintings of Dora Patin, who ended up winning “Best in Show.

I do not throw around the word “astounded” easily. Over the last four decades I’ve seen the work of hundreds if not thousands of artists who just started painting a few years ago, and already deliver immensely intelligent work.

Patin smokes them all – in fact, I think that Patin is a painting prodigy.  She has only been painting for a handful of years, and yet her trompe l’oeil paintings are breathtaking in their ability to fool the eye.  Either Patin has painting super powers or owns the most enviable painting learning skills on a planetary level.

Over those same decades I have seen many artists who, after decades and decades of practice, failures and successes, have accomplished the spectacular technical painting skills of this artist, but none, zero, not one, in such a short time after first grabbing a painting brush and opening a paint tube.

And technical painting skills alone do not make great art, and this is where Patin’s natural skills assist her in also delivering intelligent compositions and works full of psychological storylines – such as her series on some of the “key” hands of the poker game, or “Alice.”

Breathtaking technical skills in the hand of an intelligent artist are formidable art assets.

Who is writing?

The curator, Florencio Lennox Campello is writing both the Katzen Museum exhibition catalogue, and the Schiffer Publishing large format art book.

What are the essay topics?

Each artist in both the Katzen catalogue and the book will have an individual essay written about them and their work – here is another example:

Lida Moser

Lida Moser remains the greatest photographer whom I’ve ever met in person.

She was once called the "grandmother of American street photography" by an art critic, which prompted a quick rebuttal by Moser, who called the writer's editor and told him that she wasn't the "effing grandmother of anything or anyone, and would he [the writer] ever describe Ansel Adams or any other male photographer as the 'grandfather' of any style’."

Moser was born and lived most of her life in New York City, but a couple of decades ago moved to our area and was immediately adopted by the DC area art scene. 

Lida Moser's photographic career started as a student and studio assistant in 1947 in Berenice Abbott's studio in New York City, where she became an active member of the New York Photo League. She then worked for Vogue, Harper's Bazaar, Look and many other magazines throughout the next few decades, and traveled extensively throughout the United States, Canada and Europe. 

She also authored and has been part of many books and publications on and about photography. She also wrote a series of "Camera View" articles on photography for The New York Times between 1974-81.

Her work has been exhibited in many museums worldwide and is in the permanent collection of the National Portrait Gallery, London, the National Archives, Ottawa, the National Galleries of Scotland, National Portrait Gallery, Washington, DC, the Library of Congress, Les Archives Nationales du Quebec, Corcoran Gallery, Phillips Collection and many others. And one of her most iconic photos, depicting of the window washers cleaning windows at the Exxon Building in NYC was actually made into a 3D sculpture at Legoland (without Moser's permission) in Florida.

She wielded her camera like a weapon, and her photos are gritty, full of life, city narratives, police sirens, and stories of all kinds and flavors – like Lida.

Will the catalogue document or expand upon the exhibition’s premise?

Both the catalogue and book will both document and expand upon the exhibition’s premise. Both of them will be archived by the Smithsonian Institution.

Specific opportunit(ies) for the artists: residencies/performances/public programs.

• For many of these artists, this may be their first-ever exhibition in a museum as well as their first cataloguing in a book or museum catalogue.
• For nearly all of these artists, this will be their first exposure in a major national review outlet such as The Washington Post, NPR, etc.
• As the curator has many inside connections with DC area galleries, this will also present these artists with their first ever opportunity to be exposed to a curator, to a collector and to a gallerist.
• Most of these artists will also (for the first time) be exposed to Art Bank – this is the DC Commission on the Arts & Humanities Commission process to acquire art for the city’s collection; coordination with the DC Commission on the Arts & Humanities Commission is ongoing to secure a commitment from the commission to review the shows with the goal of acquiring some of the work for the City’s collection.
• The curator is also coordinating with the National Museum of Women in the Arts to conduct a curator visit to the four venues, and select at least one work for acquisition and addition to the permanent collection of the museum. Similar seminal coordination is ongoing with several local universities, with the goal being for them to acquire a work from an exhibiting alumni artist for the permanent collection of the university.
• All artists will be invited to attend the “BootCamp for Artists” seminar, to be staged at American University, at no cost to the artists.

The Rock Magnet

Below is a peek from Juicy Fruit Perfume: An American Remembers his Cuban Childhood, my biography, which is currently scheduled to be published in 2024 2026 (should I ever finish it!) - This chapter is titled "The Rock Magnet":

One of our favorite games was rock fights. 

How in the world we survived countless battles without losing an eye or getting killed is both a miracle and mystery. 

Rock fights would either be planned, between a couple of teams, or just start out of nowhere, first with one or two people, and slowly gathering impetus until broken up by either an adult, a cracked head, or a cracked window or windshield on a parked or passing car. 

How many times would I wander out of my house, bored and with nothing to do, climb on the roof and survey the neighborhood from my own little kingdom. And if I detected Pepin or his brother Monguito playing down at the end of the block, or perhaps one of the Calixton brothers outside their house a block directly across from us, I would climb down from the roof, gather a few rocks, walk to the middle of the block, yell just one warning shout and launch an unexpected aerial attack.

Having been at the receiving end of these same attacks, it was not unfair to launch an unprovoked attack, and immediately the battle would begin. 

Two solitary warriors lobbing rocks at each other, maybe 100-200 feet apart, throwing the rocks in long, elegant arcs that demanded attention – in order to avoid them – and guts – in order to appear unconcerned and avoid being hit just at the last minute by side-stepping the rock as it was about to hit you. Soon, one of the brothers would join in, and now I would have to start dodging two attackers while shouting for either my cousin Cesar or my best friend Jorge Cunningham to come to my aid. 

As my best friend, Jorge, who was an excellent rock thrower, was feared for his skill; however, he lived about half a block down from Cuartel Street and would not always hear me. Cesar nearly always came to my aid, but he was not very good at aiming, and there was always a chance that he’d join the other guys – unless the Monguitos had done something to him recently. 

The only guy in our neighborhood that you never started an unprovoked rock fight against with was Pupy. 

Pupy was one of an endless horde of Haitians who lived in a huge house at the end of where the paved Cuartel Street ended. He didn’t usually play with us, as the Haitians tended to keep to themselves, and his house had a huge, fenced garden full of trees and space where he usually played his many brothers and cousins. A whole tribe of Haitians lived behind that walled fortress of a house and it was one of the few places in our neighborhood where we weren’t welcomed or allowed in. 

But once in a while Pupy would come out and play with us, more often than not terrorizing us. We were all afraid of him, except the Monguito brothers, who were fearless and would fight anyone, anytime; and Jorge, who although skinny and small was very tough. 

Pupy was mean and evil, and in rock fights would run close up to you and fire rocks at close range, rather than maintaining a respectable artillery distance. Our only means of revenge against Pupy was rather cowardly, but we all did it anyway. 

It consisted of the ritual of lobbing a few anonymous rocks into his house’s back garden or their roof, nearly every night; or whenever we were playing around that corner of the street, which was unusual by itself, as we usually played around the other corner of the block, directly next to my grandparents’ house, which is where I lived. 

There was an art to the rock fight that demanded a certain skill and grace in order to survive without being hit. This was especially needed when you were defending against two boys. 

The idea was to throw your rock and then immediately and very quickly begin looking for a new one to throw. Because we lived on a paved street, strategy and location was important, such as beginning the fight from around one of the several empty lots in our block, with an abundant supply of projectiles. One was most vulnerable when bending down to pick up new rocks (ideally two at once), when you took your eyes off your opponent. 

A well timed throw would arc towards you to try to catch you looking away for that final split second. Two throwers demanded intense concentration and skill, and an amazing dance around a rainfall of rocks. 

One year, for a few delirious months, our street was torn and opened up as huge, new sewer lines were installed. For months these large cement pipes provided castles and forts from which massive rock fights took place – the open, torn streets providing an unending supply of rocks. It is amazing how few times we were actually hurt – of course we were hit, and it did hurt, but seldom were hits very serious or requiring stitches. 

Except for Pepin. 

Pepin was the youngest of the two Monguito brothers, his father was Mongo, who we would all make fun of, as he traveled back and forth to his job in a bicycle, becoming the proverbial Mongo en Bicicleta character. Mongo also wore the same thick, nerd glasses that Castro wore and that nearly every Cuban who needed glasses seemed to have in those years. 

Later when I was in the US Navy we would see those glasses being issued in bootcamp and we would call them "birth control glasses." 

Mongo also had an incredible resemblance to the American cartoon artist Robert Crumb. Pepin and Monguito were a key part of our pandilla, and we all played together, and of course this included rock fights, either on our side against other neighborhood’s kids or internecine battles in our own group. 

But Pepin’s head seemed to be a rock magnet! I cannot recall the number of times that his poor mother Elba, had to take Pepin to the hospital to stitch his head close from rock wounds. It was astounding even to the doctors, and his crewcut was decorated with shiny white healed scars visible under the short cropped hairstyle that we all wore. It was so bad that one time, as Elba and Pepin where coming out of the most recent visit to the hospital (she madder than a hornet at yet another busted head, and he, recently stitched and bandaged), an amazing thing happened as they were waiting for the bus outside the hospital

Now, it must be made clear that buses were also good targets for rock throwing, and in our neighborhood we generously pelted the buses with rocks if they happened to drive by during one of our battles. 

Apparently this was the case all over Guantanamo, as when the bus arrived at the hospital stop, and as Elba and the bandaged Pepin prepared to enter it, from across the street someone lobbed a rock at the bus, managed to miss it completely, arcing the rock over it and landing it squarely atop Pepin’s head, busting it open in a new spot and sending him back to the hospital amidst Elba’s cries of blue murder. 

But the rock fight to end all rock fights was an incredibly huge rock fight that took place one warm, sunny summer early evening at the crossing of the river Guaso. It has remained, both in my memory and my father’s memory, as the largest, most intensive rock fight in Guantanamo’s history, and it literally involved nearly 100 people of all ages, sizes and colors. This rock fight was the mother of all rock fights.

Art Clinic Online: Bootcamp for Artists!

 Art Clinic Online - Saturday, May 28 from 10:30 -11:30am

Join me at the Art Clinic Online for a discussion and Q&A about nearly everything you wanted to know about being an artist, grants, resume-building, approaching galleries, etc.

About Art Clinic Online (ACO)

The Art Clinic Online community aims to create a friendly artsy environment and bring together artists who may have taken classes with us before or who are contemplating it and want to learn from one another in an online community-based setting. As such, they are not didactic sessions but a forum for the equal exchange of art ideas and art information as well as an opportunity to share art challenges and breakthroughs. 

The Stone Tower resident artists created the ACO after hearing the need for such a forum expressed by many of their students. If you are interested in joining, click the button below and email Mariana to join! Yes, it's still FREE.

Location: Glen Echo.

Montgomery College’s King Street Gallery presents the annual Student Exhibition

The King Street Gallery presents the annual Student Exhibition featuring the work of Montgomery College students from the Department of the Visual and Performing Arts at Takoma Park, Silver Spring Campus.  The exhibition will be on display from May 19th through September 9th, 2022. 

King Street Gallery is open late on May 19th from 5 PM to 7:30 PM for the exhibition opening. This event is located at the Morris and Gwendolyn Cafritz Foundation Arts Center. This exhibition is free and open to the public. For more information, visit their Facebook page: https://www.facebook.com/MCVPA 

The Virtual Student Exhibition featuring artwork from remote classes can be followed on Instagram: https://www.instagram.com/930kingstreet/ and Facebook: https://www.facebook.com/MCVPA  - You can also see all the student artwork online here.

The exhibition features artworks made by Art & Design students over the past year and includes work from courses in 2D Design, 3D Design,  Ceramics, Craft, Drawing,  Graphic Design, Illustration, Painting, Printmaking, and Sculpture. Throughout the year, Montgomery College art students have worked hard to accomplish a variety of artwork that will make this year’s show something not to miss.  Please join them to celebrate their student body's creativity.  

The works are usually for sale, and I've discussed many times in my seminars for beginning collectors (Bootcamp for Art Collectors), art student shows are an excellent way to get original artwork at student prices.

About the King Street Gallery: 

The Morris and Gwendolyn Cafritz Foundation Arts Center includes galleries that mount exhibitions in support of the academic mission of the Department of Visual and Performing Arts at Montgomery College. The King Street Gallery is on the ground floor of The Morris and Gwendolyn Cafritz Foundation Arts Center on the west side of the Takoma Park/Silver Spring Campus.  

The arts center is located off Georgia Avenue at 930 King Street, Silver Spring, MD. Parking is available in the West Campus Garage, which is immediately behind the center. Additional parking is available in the East Campus Garage on Fenton Street with pedestrian access by a bridge and walking path.  For maps and directions, visit www.montgomeycollege.edu/maps. 

PO1 Mock

As most of my Navy buds know, I used to do a lot of cartoons while I was in the Navy... some were published in base newspapers,  Navy magazines,  Stars & Stripes, etc. I gave most of them away over the years... this one just showed up at an auction.

It depicts the legendary Seaman Schmuckatelli - first as a "boot" in bootcamp and then as a tough sailor a few years later - notice that the Seaman is screwing up the salute!

Seaman Schmuckatelli Navy cartoon from 1983 by Lenny Campello

Things that are not OK - and I'm going to start calling them out

One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc.

There's always a set of deadlines.

A deadline for entries to be in - the most important deadline for the artist.

A deadline for the hosting entity to respond with notifications of acceptance or rejection.

A deadline for delivery of accepted artworks

A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered)

Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT!

If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up.

One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection.

This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork.

What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists?

I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails."

Bootcamp for artists is tomorrow!

The Artists’ Boot Camp

Saturday, November 2nd, 10am-4pm , in the John Addison Concert Hall of Harmony Hall

Harmony Hall Arts Center presents Mr. Lenny Campello’s seminar, “The Artists’s Boot Camp”, open to all Prince George’s County artists, 16 and up.  Mr. Campello is the Greater Washington D.C. area’s pre-eminent art dealer, critic, consultant and blogger as well as artist. He designed his seminar to deliver information, data and proven tactics to artists, and to allow them to develop and sustain a career in the fine arts. Some of the topics that he will cover are, creating a resume, creating a body of work, selling your art, juried shows and news releases, just to name a few. 

The seminar is free and lunch is included. Seating is limited so please call 301.446.3251 or email stuart.diekmeyer@pgparks.com to register and provide lunch preference.

As many of you know, for over a decade or so I have been teaching a course for artists and arts professional, that course, for the last few years has been known as “Boot Camp for Artists.”

That six hour seminar, which has been taken by over 2,000 artists and arts professionals from all over the Mid Atlantic is designed to deliver information, data and proven tactics to allow artists to develop and sustain a career in the fine arts.

In the past, I’ve discussed the importance of artists having their work at the various art fairs held around the world, most notably during Art Basel Miami Beach (ABMB) week in the Greater Miami area.

Presentation is a huge part of an artist’s professional life, and more often than it should be, presentation is a detractor and takes away from the artwork.

Why am I discussing that here? Because before you start exploring the various ways to get your artwork invited to the “big dance” during ABMB week, as an artist you should be ready to play with the big dogs when it comes to all the tools of the trade needed to set foot in a world-class art fair.

It is not unusual for me to step foot in a gallery and see artwork which (at least from a presentation point of view) is “not ready” for primetime… this is getting to be rarer and rarer as galleries struggle to survive, but still there.

In its six hour format, the seminar covers a wide range of structured issues, including the below list, but essentially artists should at least be aware and explore:

1. Materials – Buying materials and strategies for lowering your costs, where and how to get it, etc.

2. Presentation – How to properly present your artwork including Conservation issues, Archival Matting and Framing, Longevity of materials, a discussion on Limited editions, signing and numbering, Prints vs. Reproduction, discussion on Iris Prints (Pros and Cons).

3. Creating a resume – Strategy for building your art resume, including how to write one, what should be in it, presentation, etc.

4. Juried Shows – An Insider’s view and strategy to get in the competitions.

5. How to take images of your artwork

6. Selling your art – A variety of avenues to actually selling your artwork, including fine arts festivals, corporate acquisitions, galleries, public arts, etc.

7. Creating a Body of Works

8. How to write a news release

9. Publicity – How to get in newspapers, magazines, etc. Plus handouts on email and addresses of newspaper critics, writers, etc.

10. Galleries – Discussion on area galleries including Vanity Galleries, Co-Operatives, Commercial Galleries, Non-profit Art spaces, etc.

11. How to approach a gallery – Realities of the business, Contracts, Gallery/Artist Relationship, Agents.

12. Fine Art Fairs – Discussion and advice on how to sell outwork at fine arts festivals, which to do, which to avoid, etc.

13. Resources – Display systems and tents, best juried shows and ones to avoid.

14. Accepting Credit cards – How to set up your art business.

15. Grants – Discussion on how to get grants in DC, Regional and National, including handouts on who and where and when.

16. Alternative Marketing – Cable TV, Local media


17. Internet – How to build your website at no cost, how to establish a wide and diverse Internet presence.

Harmony Hall
10701 Livingston Road 
Fort Washington, MD 20744

Bootcamp for Artists this Saturday!

The Artists’ Boot Camp

Saturday, November 2nd, 10am-4pm , in the John Addison Concert Hall of Harmony Hall in Laurel, MD. Harmony Hall is at 10701 Livingston Road, Fort Washington, MD 20744.

Harmony Hall Arts Center presents Mr. Lenny Campello’s seminar, “The Artists’s Boot Camp”, open to all artists, 16 and up.  Mr. Campello is the Greater Washington D.C. area’s pre-eminent art dealer, critic, consultant and blogger as well as artist. He designed his seminar to deliver information, data and proven tactics to artists, and to allow them to develop and sustain a career in the fine arts. Some of the topics that he will cover are, creating a resume, creating a body of work, selling your art, juried shows and news releases, just to name a few.

The seminar is free and lunch is included. Seating is limited so please call 301.446.3251 or email stuart.diekmeyer@pgparks.com to register and provide lunch preference.

This seminar usually books very quickly, so I'd recommend that you RSVP as soon as possible! It is open to ALL artists - not just PG County residents!

Background: As many of you know, for over a decade or so I have been teaching a course for artists and arts professional, that course, for the last few years has been known as “Boot Camp for Artists.”

That six hour seminar, which has been taken by over 2,000 artists and arts professionals from all over the Mid Atlantic is designed to deliver information, data and proven tactics to allow artists to develop and sustain a career in the fine arts.

In the past, I’ve discussed the importance of artists having their work at the various art fairs held around the world, most notably during Art Basel Miami Beach (ABMB) week in the Greater Miami area.

Presentation is a huge part of an artist’s professional life, and more often than it should be, presentation is a detractor and takes away from the artwork.

Why am I discussing that here? Because before you start exploring the various ways to get your artwork invited to the “big dance” during ABMB week, as an artist you should be ready to play with the big dogs when it comes to all the tools of the trade needed to set foot in a world-class art fair.

It is not unusual for me to step foot in a gallery and see artwork which (at least from a presentation point of view) is “not ready” for primetime… this is getting to be rarer and rarer as galleries struggle to survive, but still there.

In its six hour format, the seminar covers a wide range of structured issues, including the below list, but essentially artists should at least be aware and explore:

1. Materials – Buying materials and strategies for lowering your costs, where and how to get it, etc.

2. Presentation – How to properly present your artwork including Conservation issues, Archival Matting and Framing, Longevity of materials, a discussion on Limited editions, signing and numbering, Prints vs. Reproduction, discussion on Iris Prints (Pros and Cons).

3. Creating a resume – Strategy for building your art resume, including how to write one, what should be in it, presentation, etc.

4. Juried Shows – An Insider’s view and strategy to get in the competitions.

5. How to take images of your artwork

6. Selling your art – A variety of avenues to actually selling your artwork, including fine arts festivals, corporate acquisitions, galleries, public arts, etc.

7. Creating a Body of Works

8. How to write a news release

9. Publicity – How to get in newspapers, magazines, etc. Plus handouts on email and addresses of newspaper critics, writers, etc.

10. Galleries – Discussion on area galleries including Vanity Galleries, Co-Operatives, Commercial Galleries, Non-profit Art spaces, etc.

11. How to approach a gallery – Realities of the business, Contracts, Gallery/Artist Relationship, Agents.

12. Fine Art Fairs – Discussion and advice on how to sell outwork at fine arts festivals, which to do, which to avoid, etc.

13. Resources – Display systems and tents, best juried shows and ones to avoid.

14. Accepting Credit cards – How to set up your art business.

15. Grants – Discussion on how to get grants in DC, Regional and National, including handouts on who and where and when.

16. Alternative Marketing – Cable TV, Local media

17. Internet – How to build your website at no cost, how to establish a wide and diverse Internet presence.


Harmony Hall

10701 Livingston Road

Fort Washington, MD 20744

Free Bootcamp for Artists this Saturday!

As many of you know, for over a decade or so I have been teaching a course for artists and arts professional, that course, for the last few years has been known as “Boot Camp for Artists.”

That six hour seminar, which has been taken by over 2,000 artists and arts professionals from all over the Mid Atlantic is designed to deliver information, data and proven tactics to allow artists to develop and sustain a career in the fine arts.

In the past, I’ve also discussed the importance of artists having their work at the various art fairs held around the world, most notably during Art Basel Miami Beach (ABMB) week in the Greater Miami area.

Presentation is a huge part of an artist’s professional life, and more often than it should be, presentation is a detractor and takes away from the artwork.

Why am I discussing that here? Because before you start exploring the various ways to get your artwork invited to the “big dance” during ABMB week, as an artist you should be ready to play with the big dogs when it comes to all the tools of the trade needed to set foot in a world-class art fair.

It is not unusual for me to step foot in a gallery and see artwork which (at least from a presentation point of view) is “not ready” for primetime… this is getting to be rarer and rarer as galleries struggle to survive, but still there.

The seminar will be offered this coming Saturday, November 2 at Harmony Hall, 10701 Livingston Road, Fort Washington, MD 20744 - courtesy of PG County and fully free to all artists - and lunch is included!

In its six hour format, the seminar covers a wide range of structured issues, including the below list, but essentially artists should at least be aware and explore:

1. Materials – Buying materials and strategies for lowering your costs, where and how to get it, etc.

2. Presentation – How to properly present your artwork including Conservation issues, Archival Matting and Framing, Longevity of materials, a discussion on Limited editions, signing and numbering, Prints vs. Reproduction, discussion on Iris Prints (Pros and Cons).

3. Creating a resume – Strategy for building your art resume, including how to write one, what should be in it, presentation, etc.

4. Juried Shows – An Insider’s view and strategy to get in the competitions.

5. How to take images of your artwork

6. Selling your art – A variety of avenues to actually selling your artwork, including fine arts festivals, corporate acquisitions, galleries, public arts, etc.

7. Creating a Body of Works

8. How to write a news release

9. Publicity – How to get in newspapers, magazines, etc. Plus handouts on email and addresses of newspaper critics, writers, etc.

10. Galleries – Discussion on area galleries including Vanity Galleries, Co-Operatives, Commercial Galleries, Non-profit Art spaces, etc.

11. How to approach a gallery – Realities of the business, Contracts, Gallery/Artist Relationship, Agents.

12. Fine Art Fairs – Discussion and advice on how to sell outwork at fine arts festivals, which to do, which to avoid, etc.

13. Resources – Display systems and tents, best juried shows and ones to avoid.

14. Accepting Credit cards – How to set up your art business.

15. Grants – Discussion on how to get grants in DC, Regional and National, including handouts on who and where and when.

16. Alternative Marketing – Cable TV, Local media

17. Internet – How to build your website at no cost, how to establish a wide and diverse Internet presence.

Bootcamp

On September 30, from 2-4:30 pm, The Brentwood Arts Exchange and I will be once again hosting my well-known “Bootcamp for Artists” seminar at no cost to the artists.


This seminar is suitable for all visual artists interested in taking their careers to the next level.


Ever wondered how to maximize the attention your work gets from the press, galleries, and museum curators? How to present your work in a professional manner and save money in the process? How to tap into grants, awards and residencies? How to approach a gallery?


Then this is the seminar for you! This program is free, but space is limited to 40 persons, and last year lots of artists were turned away because it filled up so quickly!

This seminar always books up very quickly!

3901 Rhode Island Avenue

Brentwood, MD 20722

301-277-2863

This program will be held in MNCPPC’s Brentwood Arts Exchange on the 1st Floor of the Gateway Arts Center, 3901 Rhode Island Avenue, Brentwood, MD 20722, just over the District line on Rhode Island Avenue.


The seminar, which has been taken by over 6,000 artists and arts professionals from all over the Mid Atlantic is designed to deliver information, data and proven tactics to allow artists to develop and sustain a career in the fine arts.
Sometimes called "Boot Camp for Artists" by the attendees, people as far as Arizona, California, New York and South Carolina have attended, including many, many university level art professionals.
In its seven hour format compressed into 2.5 hours, the seminar covers a wide range of structured issues including:

1. Materials - Buying materials; strategies for lowering your costs, where and how to get it, etc.

2. Presentation – How to properly present your artwork including Conservation issues, Archival Matting and Framing, Longevity of materials, a discussion on Limited editions, signing and numbering, Prints vs. Reproduction, discussion on Iris Prints (Pros and Cons).

3. Creating a resume - Strategy for building your art resume, including how to write one, what should be in it, presentation, etc.

4. Juried Shows – An Insider's view and strategy to get in the competitions.

5. How to take slides and photographs of your artwork

6. Selling your art – A variety of avenues to actually selling your artwork, including fine arts festivals, corporate acquisitions, galleries, public arts, etc.

7. Creating a Body of Works

8. How to write a news release

9. Publicity – How to get in newspapers, magazines, etc. Plus handouts on email and addresses of newspaper critics, writers, etc.

10. Galleries – Discussion on area galleries including Vanity Galleries, Co-Operatives, Commercial Galleries, Non-profit Art spaces, etc.

11. How to approach a gallery – Realities of the business, Contracts, Gallery/Artist Relationship, Agents.

12. Outdoor Art Festivals – Discussion and advice on how to sell outwork at fine arts festivals, which to do, which to avoid, etc.

13. Resources - Display systems and tents, best juried shows and ones to avoid.

14. Accepting Credit cards – How to set up your art business.

15. Grants – Discussion on how to get grants in DC, Regional and National, including handouts on who and where and when.

16. Alternative Marketing - Cable TV, Local media

17. Internet – How to build your website at no cost, how to establish a wide and diverse Internet presence.

18. Art fairs

Bootcamp for Artists Coming later this month!

Early heads up!


On September 30, from 2-4:30 pm, The Brentwood Arts Exchange and I will be once again hosting my well-known “Bootcamp for Artists” seminar at no cost to the artists.



This seminar is suitable for all visual artists interested in taking their careers to the next level.



Ever wondered how to maximize the attention your work gets from the press, galleries, and museum curators? How to present your work in a professional manner and save money in the process? How to tap into grants, awards and residencies? How to approach a gallery?



Then this is the seminar for you! This program is free, but space is limited to 40 persons, and last year lots of artists were turned away because it filled up so quickly!


This seminar always books up very quickly!

3901 Rhode Island Avenue

Brentwood, MD 20722

301-277-2863

This program will be held in MNCPPC’s Brentwood Arts Exchange on the 1st Floor of the Gateway Arts Center, 3901 Rhode Island Avenue, Brentwood, MD 20722, just over the District line on Rhode Island Avenue.



The seminar, which has been taken by over 6,000 artists and arts professionals from all over the Mid Atlantic is designed to deliver information, data and proven tactics to allow artists to develop and sustain a career in the fine arts.

Sometimes called "Boot Camp for Artists" by the attendees, people as far as Arizona, California, New York and South Carolina have attended, including many, many university level art professionals.

In its seven hour format compressed into 2.5 hours, the seminar covers a wide range of structured issues including:

1. Materials - Buying materials; strategies for lowering your costs, where and how to get it, etc.

2. Presentation – How to properly present your artwork including Conservation issues, Archival Matting and Framing, Longevity of materials, a discussion on Limited editions, signing and numbering, Prints vs. Reproduction, discussion on Iris Prints (Pros and Cons).

3. Creating a resume - Strategy for building your art resume, including how to write one, what should be in it, presentation, etc.

4. Juried Shows – An Insider's view and strategy to get in the competitions.

5. How to take slides and photographs of your artwork

6. Selling your art – A variety of avenues to actually selling your artwork, including fine arts festivals, corporate acquisitions, galleries, public arts, etc.

7. Creating a Body of Works

8. How to write a news release

9. Publicity – How to get in newspapers, magazines, etc. Plus handouts on email and addresses of newspaper critics, writers, etc.

10. Galleries – Discussion on area galleries including Vanity Galleries, Co-Operatives, Commercial Galleries, Non-profit Art spaces, etc.

11. How to approach a gallery – Realities of the business, Contracts, Gallery/Artist Relationship, Agents.

12. Outdoor Art Festivals – Discussion and advice on how to sell outwork at fine arts festivals, which to do, which to avoid, etc.

13. Resources - Display systems and tents, best juried shows and ones to avoid.

14. Accepting Credit cards – How to set up your art business.

15. Grants – Discussion on how to get grants in DC, Regional and National, including handouts on who and where and when.

16. Alternative Marketing - Cable TV, Local media

17. Internet – How to build your website at no cost, how to establish a wide and diverse Internet presence.

18. Art fairs

Boot camp for artists coming...

Early heads up!


On September 30, from 2-4:30 pm, The Brentwood Arts Exchange and I will be once again hosting my well-known “Bootcamp for Artists” seminar at no cost to the artists.



This seminar is suitable for all visual artists interested in taking their careers to the next level.



Ever wondered how to maximize the attention your work gets from the press, galleries, and museum curators? How to present your work in a professional manner and save money in the process? How to tap into grants, awards and residencies? How to approach a gallery?



Then this is the seminar for you! This program is free, but space is limited to 40 persons, and last year lots of artists were turned away because it filled up so quickly!


As soon as they start taking reservations (and I will announce that soon), I recommend that interested people reserve early, as this seminar always books up very quickly!



This program will be held in MNCPPC’s Brentwood Arts Exchange on the 1st Floor of the Gateway Arts Center, 3901 Rhode Island Avenue, Brentwood, MD 20722, just over the District line on Rhode Island Avenue.



The seven hour seminar, which has been taken by over 6,000 artists and arts professionals from all over the Mid Atlantic is designed to deliver information, data and proven tactics to allow artists to develop and sustain a career in the fine arts.

Sometimes called "Boot Camp for Artists" by the attendees, people as far as Arizona, California, New York and South Carolina have attended, including many, many university level art professionals.

In its seven hour format, the seminar covers a wide range of structured issues including:

1. Materials - Buying materials; strategies for lowering your costs, where and how to get it, etc.

2. Presentation – How to properly present your artwork including Conservation issues, Archival Matting and Framing, Longevity of materials, a discussion on Limited editions, signing and numbering, Prints vs. Reproduction, discussion on Iris Prints (Pros and Cons).

3. Creating a resume - Strategy for building your art resume, including how to write one, what should be in it, presentation, etc.

4. Juried Shows – An Insider's view and strategy to get in the competitions.

5. How to take slides and photographs of your artwork

6. Selling your art – A variety of avenues to actually selling your artwork, including fine arts festivals, corporate acquisitions, galleries, public arts, etc.

7. Creating a Body of Works

8. How to write a news release

9. Publicity – How to get in newspapers, magazines, etc. Plus handouts on email and addresses of newspaper critics, writers, etc.

10. Galleries – Discussion on area galleries including Vanity Galleries, Co-Operatives, Commercial Galleries, Non-profit Art spaces, etc.

11. How to approach a gallery – Realities of the business, Contracts, Gallery/Artist Relationship, Agents.

12. Outdoor Art Festivals – Discussion and advice on how to sell outwork at fine arts festivals, which to do, which to avoid, etc.

13. Resources - Display systems and tents, best juried shows and ones to avoid.

14. Accepting Credit cards – How to set up your art business.

15. Grants – Discussion on how to get grants in DC, Regional and National, including handouts on who and where and when.

16. Alternative Marketing - Cable TV, Local media

17. Internet – How to build your website at no cost, how to establish a wide and diverse Internet presence.

18. Art fairs

Save the date: Bootcamp for Artists

Early heads up!


On September 30, from 2-4:30 pm, The Brentwood Arts Exchange and I will be once again hosting my well-known “Bootcamp for Artists” seminar at no cost to the artists.



This seminar is suitable for all visual artists interested in taking their careers to the next level.



Ever wondered how to maximize the attention your work gets from the press, galleries, and museum curators? How to present your work in a professional manner and save money in the process? How to tap into grants, awards and residencies? How to approach a gallery?



Then this is the seminar for you! This program is free, but space is limited to 40 persons, and last year lots of artists were turned away because it filled up so quickly!


As soon as they start taking reservations (and I will announce that soon), I recommend that interested people reserve early, as this seminar always books up very quickly!



This program will be held in MNCPPC’s Brentwood Arts Exchange on the 1st Floor of the Gateway Arts Center, 3901 Rhode Island Avenue, Brentwood, MD 20722, just over the District line on Rhode Island Avenue.



See ya there!

Bootcamp for Artists Seminar

Early heads up!


On September 30, from 2-4:30 pm, The Brentwood Arts Exchange and I will be once again hosting my well-known “Bootcamp for Artists” seminar at no cost to the artists.



This seminar is suitable for all visual artists interested in taking their careers to the next level.



Ever wondered how to maximize the attention your work gets from the press, galleries, and museum curators? How to present your work in a professional manner and save money in the process? How to tap into grants, awards and residencies? How to approach a gallery?



Then this is the seminar for you! This program is free, but space is limited to 40 persons, and last year lots of artists were turned away because it filled up so quickly!


As soon as they start taking reservations (and I will announce that soon), I recommend that interested people reserve early, as this seminar always books up very quickly!



This program will be held in MNCPPC’s Brentwood Arts Exchange on the 1st Floor of the Gateway Arts Center, 3901 Rhode Island Avenue, Brentwood, MD 20722, just over the District line on Rhode Island Avenue.



See ya there!

For your CV

In my "Bootcamp for Artists" series of seminars, one of the guerrilla tactics that I share and teach is how to build your art exhibition resume, and the key importance of having it for grants, residencies, and of course: sales.


Wanna add a group show to your resume and also contribute to a good cause?

CALL FOR POSTCARDS / DEADLINE MAY 19TH Wish You Were Here 16 A.I.R. Gallery's Annual Postcard Show A.I.R. Gallery is pleased to announce its 16th annual postcard show, Wish You Were Here, which will take place in the entry gallery of our Plymouth Street location from May 25 - June 25, 2017. This inclusive event both raises valuable funds for A.I.R. programs and makes affordable artwork available to the public. Past Wish You Were Here exhibitions have included work by notable artists like Mary Beth Edelson, Dottie Attie, Mary Grigoriadis, and Barbara Zucker. We invite artists from all over the world - female / male / cis / trans / gender nonconforming / neutral -  to participate by donating 1 postcard-sized work (4 x 6 inches) in any medium. Each original work is sold for $45 on a first come first serve basis and the buyer will take the work with them at the time of the sale. All proceeds go to benefit A.I.R. programming and are tax-deductible to the fullest extent of the law. FREE ENTRY & ALL WORKS ACCEPTED! For more information and to submit work for the annual postcard show, click here. Deadline is May 19, 2017 at 6pm.