Ooooh... there may be an art fair coming to Washington, DC

Not yet... but the DC Commission on the Arts & Humanities is thinking about one -- I've volunteered to assist them... so far been ghosted! This is the notice that I received today:.

As you may know, we've been hosting a series of community stakeholder meetings discussing the potential of bringing an international art fair/festival to Washington DC in 2025. We want to meet with individual artists from the community to discuss this opportunity and how it might impact their livelihood and their art.

Our next Art Week 2025 Community Stakeholder Meeting will be held at the Thurgood Marshall Center (1816 12th St NW) on February 1st from 6 to 8 pm.

There is very limited space for this meeting. Please RSVP to secure a spot. There will be a few spots left for walk-ups but we cannot exceed our event capacity. If you have attended a stakeholder meeting in the past please let someone else get a chance to RSVP.

Join us from 6 to 8 pm on Tuesday, February 1 at the Thurgood Marshall Center.

I first proposed a slightly different version of the following art fair model to all the organizations mentioned in this article about a decade ago, when there was (even then) a sense of art fatigue brewing in the art world. Result: zip, nada, nothing! No one even answered my letters (remember letters?).

In a post Covidian world, I suspect that a lot of people will still be a little leery of large group gatherings, and art fairs based on pre-Covidian standards may be a bit antiquated in the Brave Chickenized New World.

Herewith a revised Campello Art Fair Model.

The important thing to remember, as I mull, chew, and refine a "new" art post-Covidian fair model to replace the existing pre-Covidian art fair model, which in its American incarnations seemed to work well only in Miami and New York, but not so well in the West coast (and as we DMV-based folks have seen with (e)merge and artDC, not at all in the capital region), is the marriage of a legitimate art entity (a museum) with an art-for-sale process as a means to raise funds.

The seeds for this model already exist in the DC region with the Smithsonian Craft Show, now in its third decade.

Considered by many to be the finest craft fair in the world -- and from the many artists that I have spoken to over the years -- one of the best places to sell fine crafts as well, this prestigious and highly competitive juried exhibition and sale of contemporary American craft usually takes place each April for four days. It takes place at the National Building Museum in Washington, DC and it includes one-of-a-kind and limited-edition craft objects in 12 different media: basketry, ceramics, decorative fiber, furniture, glass, jewelry, leather, metal, mixed media, paper, wearable art and wood.

There were 120 exhibitors in their last show, including emerging artists and master craftsmen, over 30 of whom were first-time participants. Twelve of those selected were also first-time applicants to the show. All were chosen by a panel of expert jurors from a highly competitive field of close to 1,400 applicants.

So, we have a model for crafts in DC which has been working for over 30 years.

See where I'm going?

Can we envision the Smithsonian American Art Fair?

Or... The Smithsonian American International Art Fair?

The SAIAF would dramatically expand the business model of the Smithsonian Craft Fair to a National Mall-wide - outdoors - or even a citywide art fair anchored and guided by the Smithsonian Institution, and possibly either:

(a) spread throughout the various accommodating outdoor spaces at the various SI locales around the National Mall or even…

(b) in temporary art spaces, booth, or containers on the open spaces of the National Mall itself!

The latter is not as big of a deal as it sounds.

The National Mall already hosts a spectacular variety of outdoor events on the Mall spaces where complex display spaces are temporarily built, secured and just as quickly dismantled, grass re-seeded, and by Monday the Mall is back to normal.

Boom!

For art, all we need is protection from the weather and security. Perhaps even a combination of "free" (to the public) set of exhibitors (maybe out on the Mall) coupled with a paid admission set of exhibitors inside SI spaces -- or just make them all free to the public?

Details... details...

This new fair model would be open to both commercial art galleries and art dealers, as well as to art schools, and (and here's the key "and") to individual artists and cooperative artist-owned galleries.

Size matters… just ask Salvador Dali, who once said: “If you can’t paint well, then paint big!”

Would 1200 galleries, dealers, schools and artists in a mega, new-model art fair raise some interests from art collectors to come to DC for a long weekend in May?

It would if it attracted 100,000 visitors to the fair instead of 10,000 (like the looooong gone art fair artDC once attracted).

Are you aware that in May the Bethesda Fine Arts Festival in nearby Bethesda attracts 30-40,000 people to the streets of Bethesda for this artist-only street fine arts fair? or that also in May the Northern Virginia Fine Arts Festival attracts the same number of people to the streets of the Reston Town Center to buy art from individual artists?

Both Bethesda and Reston have two of the highest median household incomes in the US. And I am told that the Greater Washington, DC region has the second highest concentration of multi-millionaires in the world.

The money is here - the key is to get the disposable income crowd in touch with the art.

Both Bethesda and Reston manage to accomplish this one weekend each year. Do not, under any circumstances assume that these are "street fairs" where teddy bears, country crafts, and dried flowers are sold. These are both highly competitive fine arts outdoor fairs where artists from all over the nation come to and compete for spots because artwork sells well.

I have seen $80,000 worth of sculptures sell to one collector in Bethesda and a painter with a price point of $17,000 sell out in Reston.

Do not let the snobby attitude of the high art world affect your preconception of what these two street art fairs are like; go visit one this coming (and hopefully post Covidian) and open your eyes. In 2021 the fairs slipped from May to later months… but I am sure that they’ll be back to May in 2022.

And because of them, and because of the success of Art Basel Miami Beach, we know that given a certain critical mass, people will come out to an art fair. The primary key for art dealers to have interest in an art fair is sales (and also exposure to new collectors, museum curators, etc.), but mainly sales.

If you are a British gallery, by the time you get yourself and your artwork to Miami Beach, you're in the hole a whole bunch of Euros and British pounds; if you don't sell anything (like it happened to a British gallery in artDC and an Israeli gallery at another fair), chances are that you won't return to that fair.

But increase the public attendance numbers exponentially, and Economics 101 tells you that sales will also increase exponentially. And unlike the hotel-deprived artDC location at the Convention Center, I am told by DC's tourist gurus that the National Mall is already a magnet location where visitors, regardless of where they are staying around the Greater DC region, flock to during their visits to the capital.

Since two major Greater DC area street art fairs already exist in May in the Greater DC area, we can even consider aligning the weekends so that both Reston, Bethesda, and the Smithsonian American International Art Fair all take place on the same weekend!

Offer free bus service between Reston and Bethesda and the National Mall for collectors to hop around during the fair weekend, and a public buzz alignment will begin to happen. The Smithsonian American International Art Fair starts on a Thursday through Sunday and both Reston and Bethesda continue to run on Saturday and Sunday. And the Smithsonian American International Art Fair is focused as a major fundraiser for the cash-hungry SI.

A formula of booth prices + perhaps a 5% commission on all sales (both tax deductible for American galleries) would take care of temporary Mall booth construction, re-seeding of grass, and booth construction inside SI venues and still yield a nice chunk of cash for the SI.

If there's commercial success and high public attendance, soon we'd see some satellite hotel fairs popping up all over DC and its easy-to-get-to suburbs; the Phillips will jump on the bandwagon right away.

ABMB had 26 fairs all over Greater Miami last December. Another DC-unique element to the above model, and an important element that only a Washington art fair weekend can add: include the Embassies!

In addition to all the above events taking place, the fair could also align with shows at 15-20 embassy galleries around DC. The embassies would showcase one (or a group) of their national artists, and then the fair would really have an international flavor, and the beginning seeds of an American Venice in the DMV.

DC is a small city; it's fairly easy to set up transportation between the embassies and the Mall. In fact, some embassies could probably set that up themselves.

I think that this "new" super model could (and eventually when someone delivers and implements it -- it will) challenge Miami Beach -- and yes, I am aware that DC in May is not Miami in December -- but I also think that the District's own museums and public attractions trump Miami's anytime, so the DMV has something different to offer the potential collector who may be considering attending a new art fair in a city (like DC) that also offers him/her some other cultural and visual attractions besides good weather, and nice beaches… and Calle Ocho.

DC art commissioners... Smithsonianos... DC city fathers and mothers.... call me!

Is there an art fair coming to Washington, DC

Not yet... but the DC Commission on the Arts & Humanities is thinking about one -- I've volunteered to assist them...

As you may know, we've been hosting a series of community stakeholder meetings discussing the potential of bringing an international art fair/festival to Washington DC in 2025. We want to meet with individual artists from the community to discuss this opportunity and how it might impact their livelihood and their art.

Our next Art Week 2025 Community Stakeholder Meeting will be held at the Thurgood Marshall Center (1816 12th St NW) on February 1st from 6 to 8 pm.

There is very limited space for this meeting. Please RSVP to secure a spot. There will be a few spots left for walk-ups but we cannot exceed our event capacity. If you have attended a stakeholder meeting in the past please let someone else get a chance to RSVP.

Join us from 6 to 8 pm on Tuesday, February 1 at the Thurgood Marshall Center.

I first proposed a slightly different version of the following art fair model to all the organizations mentioned in this article about a decade ago, when there was (even then) a sense of art fatigue brewing in the art world. Result: zip, nada, nothing! No one even answered my letters (remember letters?).

In a post Covidian world, I suspect that a lot of people will still be a little leery of large group gatherings, and art fairs based on pre-Covidian standards may be a bit antiquated in the Brave Chickenized New World.

Herewith a revised Campello Art Fair Model.

The important thing to remember, as I mull, chew, and refine a "new" art post-Covidian fair model to replace the existing pre-Covidian art fair model, which in its American incarnations seemed to work well only in Miami and New York, but not so well in the West coast (and as we DMV-based folks have seen with (e)merge and artDC, not at all in the capital region), is the marriage of a legitimate art entity (a museum) with an art-for-sale process as a means to raise funds.

The seeds for this model already exist in the DC region with the Smithsonian Craft Show, now in its third decade.

Considered by many to be the finest craft fair in the world -- and from the many artists that I have spoken to over the years -- one of the best places to sell fine crafts as well, this prestigious and highly competitive juried exhibition and sale of contemporary American craft usually takes place each April for four days. It takes place at the National Building Museum in Washington, DC and it includes one-of-a-kind and limited-edition craft objects in 12 different media: basketry, ceramics, decorative fiber, furniture, glass, jewelry, leather, metal, mixed media, paper, wearable art and wood.

There were 120 exhibitors in their last show, including emerging artists and master craftsmen, over 30 of whom were first-time participants. Twelve of those selected were also first-time applicants to the show. All were chosen by a panel of expert jurors from a highly competitive field of close to 1,400 applicants.

So, we have a model for crafts in DC which has been working for over 30 years.

See where I'm going?

Can we envision the Smithsonian American Art Fair?

Or... The Smithsonian American International Art Fair?

The SAIAF would dramatically expand the business model of the Smithsonian Craft Fair to a National Mall-wide - outdoors - or even a citywide art fair anchored and guided by the Smithsonian Institution, and possibly either:

(a) spread throughout the various accommodating outdoor spaces at the various SI locales around the National Mall or even…

(b) in temporary art spaces, booth, or containers on the open spaces of the National Mall itself!

The latter is not as big of a deal as it sounds.

The National Mall already hosts a spectacular variety of outdoor events on the Mall spaces where complex display spaces are temporarily built, secured and just as quickly dismantled, grass re-seeded, and by Monday the Mall is back to normal.

Boom!

For art, all we need is protection from the weather and security. Perhaps even a combination of "free" (to the public) set of exhibitors (maybe out on the Mall) coupled with a paid admission set of exhibitors inside SI spaces -- or just make them all free to the public?

Details... details...

This new fair model would be open to both commercial art galleries and art dealers, as well as to art schools, and (and here's the key "and") to individual artists and cooperative artist-owned galleries.

Size matters… just ask Salvador Dali, who once said: “If you can’t paint well, then paint big!”

Would 1200 galleries, dealers, schools and artists in a mega, new-model art fair raise some interests from art collectors to come to DC for a long weekend in May?

It would if it attracted 100,000 visitors to the fair instead of 10,000 (like the looooong gone art fair artDC once attracted).

Are you aware that in May the Bethesda Fine Arts Festival in nearby Bethesda attracts 30-40,000 people to the streets of Bethesda for this artist-only street fine arts fair? or that also in May the Northern Virginia Fine Arts Festival attracts the same number of people to the streets of the Reston Town Center to buy art from individual artists?

Both Bethesda and Reston have two of the highest median household incomes in the US. And I am told that the Greater Washington, DC region has the second highest concentration of multi-millionaires in the world.

The money is here - the key is to get the disposable income crowd in touch with the art.

Both Bethesda and Reston manage to accomplish this one weekend each year. Do not, under any circumstances assume that these are "street fairs" where teddy bears, country crafts, and dried flowers are sold. These are both highly competitive fine arts outdoor fairs where artists from all over the nation come to and compete for spots because artwork sells well.

I have seen $80,000 worth of sculptures sell to one collector in Bethesda and a painter with a price point of $17,000 sell out in Reston.

Do not let the snobby attitude of the high art world affect your preconception of what these two street art fairs are like; go visit one this coming (and hopefully post Covidian) and open your eyes. In 2021 the fairs slipped from May to later months… but I am sure that they’ll be back to May in 2022.

And because of them, and because of the success of Art Basel Miami Beach, we know that given a certain critical mass, people will come out to an art fair. The primary key for art dealers to have interest in an art fair is sales (and also exposure to new collectors, museum curators, etc.), but mainly sales.

If you are a British gallery, by the time you get yourself and your artwork to Miami Beach, you're in the hole a whole bunch of Euros and British pounds; if you don't sell anything (like it happened to a British gallery in artDC and an Israeli gallery at another fair), chances are that you won't return to that fair.

But increase the public attendance numbers exponentially, and Economics 101 tells you that sales will also increase exponentially. And unlike the hotel-deprived artDC location at the Convention Center, I am told by DC's tourist gurus that the National Mall is already a magnet location where visitors, regardless of where they are staying around the Greater DC region, flock to during their visits to the capital.

Since two major Greater DC area street art fairs already exist in May in the Greater DC area, we can even consider aligning the weekends so that both Reston, Bethesda, and the Smithsonian American International Art Fair all take place on the same weekend!

Offer free bus service between Reston and Bethesda and the National Mall for collectors to hop around during the fair weekend, and a public buzz alignment will begin to happen. The Smithsonian American International Art Fair starts on a Thursday through Sunday and both Reston and Bethesda continue to run on Saturday and Sunday. And the Smithsonian American International Art Fair is focused as a major fundraiser for the cash-hungry SI.

A formula of booth prices + perhaps a 5% commission on all sales (both tax deductible for American galleries) would take care of temporary Mall booth construction, re-seeding of grass, and booth construction inside SI venues and still yield a nice chunk of cash for the SI.

If there's commercial success and high public attendance, soon we'd see some satellite hotel fairs popping up all over DC and its easy-to-get-to suburbs; the Phillips will jump on the bandwagon right away.

ABMB had 26 fairs all over Greater Miami last December. Another DC-unique element to the above model, and an important element that only a Washington art fair weekend can add: include the Embassies!

In addition to all the above events taking place, the fair could also align with shows at 15-20 embassy galleries around DC. The embassies would showcase one (or a group) of their national artists, and then the fair would really have an international flavor, and the beginning seeds of an American Venice in the DMV.

DC is a small city; it's fairly easy to set up transportation between the embassies and the Mall. In fact, some embassies could probably set that up themselves.

I think that this "new" super model could (and eventually when someone delivers and implements it -- it will) challenge Miami Beach -- and yes, I am aware that DC in May is not Miami in December -- but I also think that the District's own museums and public attractions trump Miami's anytime, so the DMV has something different to offer the potential collector who may be considering attending a new art fair in a city (like DC) that also offers him/her some other cultural and visual attractions besides good weather, and nice beaches… and Calle Ocho.

DC art commissioners... Smithsonianos... DC city fathers and mothers.... call me!

A quick visit to the Torpedo Factory

Yesterday I spent about three hours wandering around the Torpedo Factory in Alexandria, visiting every single space, gallery and studio that was open.  The place was very busy, full of tourists, locals, and all kinds of people walking around the DMV's most precious art jewel.

Over the years I've written many, many, many articles, blog posts and pieces about this very special place, including these last two in the Old Town Crier newspaper, (1 and 2) discussing my thoughts on what is happening at the Factory since the City of Alexandria took over.

But for this post I'm just going to focus on this visit, with some observations and opinions.

On the subject of "open", I was both surprised and disappointed by the significant number of studios which were closed on a Saturday afternoon. "Saturdays are our busiest day," noted a prominent Torpedo factory artist who has been there for decades... as I left her studio after chatting with her for a while, she was working to close an $8,000 sale.

On the third floor alone, I would estimate that half the studios were closed, which in my opinion is not acceptable, especially when they are routinely closed. By that I mean that I saw signs on the studio doors that stated the open hours, which were Monday through Friday, with Saturdays and Sundays being either "Closed" or "By Appointment Only."

Since the heavy hand of the state now dictates every and all things Torpedo Factorish, I would recommend that the City Kommissars order the artistic workers to be open on weekends. In an amendment to that motion, as there are 52 weekends a year - let's settle on 42 weekends.

At the Art League on the ground floor, I walked through the current group show, which was curated by Regina DeLuise. 

As art jurying is very subjective, I usually knock heads with jurors when I form my own decisions as to prize winners, etc., but in this case Ms. DeLuise and I agree 1000% that Party on East Park Place by Wendy Donahoe indeed earned that prize!

Party on East Park Place by Wendy Donahoe

Also on the spectacular scale of the art ratings was The Feast Of The Gods by Teresa Oaxaca, a huge oil on linen which as usual lets Oaxaca flex her enviable painting skills - she's one of the most gifted artists in the DMV.

The Feast Of The Gods by Teresa Oaxaca

I also liked Ravishing Strength by Stephanie Chang, Joy by Dian McDonald, and several others.

In studio 204 I met and chatted with Sarah Bentley, a classically trained young painter with gorgeous paintings done in the kind of accomplishment that is only achieved after thousands of hours of laborious practice and study of the Old Masters. She notes that:

I began copying at the National Gallery of Art in 2017, drawn to copying paintings as I further my education and skills. I have found that copying from the old masters allows me to examine the surface of the paintings, the texture of the paint itself. While being allowed to copy is an honor, I feels as though copying the works from the NGA allows me to have a conversation with the painters who have come before me, further continuing my education as an emerging artist.

On the third floor I walked into Jacelyn Orellana as she was painting a small portrait. 

Orellana is a Pro Tem artist at the Factory, and yet this very young painter already shows and displays the painting bravura and skills of a much more seasoned painter.  

She has already mastered one of the most difficult tasks in the realm: the rare ability to create intimate portraits that are not only a true representation of the likeness of the subject, but also (and equally as important and hard to do) to capture that ethereal psychological imprint that is also part of any portrait.

And here is the shocker: Incredibly inexpensive and affordable prices! Her Gouache portraits start at $100 for a 5x7 inches, $200 for an 8x8 inches Acrylic, and $300 for an 8x8 inches Oil! Let's give her some business - contact her here.

I suspect that we're gonna hear a lot more in the near future about this bright young star.

Throughout the hours I visited and continued to re-visit the Target Gallery, where "Sound Horizons" was being featured. The exhibition was being presented by the City of Alexandria’s Office of the Arts and Virginia Tech’s Institute for Creativity, Arts, and Technology (ICAT).

The exhibition includes four video, sound, and time based artworks by professional staff, students, and colleagues at Virginia Tech University selected for Alexandria and the surrounding region.

With the possible exception of a five-minute audio and video presentation titled "Dear Younger Me" (Keisha V. Thompson, Jada Hoffman, Gilette B., Adele, Ben Knapp, Dacia Kings, Tianyu Ge, Eric Lyon, Geefa Adane, Sydney Johnson, Meaghan Dee, Andraé L., Brown & Tilandra Rhyne), I was overall very underwhelmed by both the presentation and the presented works.  In fact, I felt as if I had stepped back into the late 1990s technology birth of video and artists.

The exhibition runs through January 28, 2024, so it will be boring a lot of people for a long time to come.

The Torpedo Factory and its family of artists and galleries is one of the jewels of our DMV's cultural tapestry - keep visiting it and keep supporting our artists!

This Weekend: Tephra ICA Arts Festival Takes Over Reston Town Center

Tephra ICA Arts Festival Takes Over Reston Town Center This Weekend | May 20–21, 2023

Now in its 32nd year, the Tephra ICA Arts Festival (formerly titled the Northern Virginia Fine Arts Festival) will take place this weekend at Reston Town Center. Over 200 contemporary artists and artisans will travel from across the country to present original handmade artwork to share with Festival audiences.

See the 2023 artists here.

My picks:

Painting: There is not a single bad painter in this festival -- to get in, you have to be good! And that has been a Reston high standard for decades! From among this group I like Kathryn Maher in booth 310, Arte Original in 900 block, Karina Llergo in booth 944-945, Greg Stones in booth 425 (he notes: My basic process is this: Paint a landscape. Then add weird stuff), and Jill Banks.

Rabbit Finds Carrot
Gouache on paper 6" x 4" 2018 by Greg Stone

Digital & Multi-Media Art / Drawing / Mixed Media 2D: Loads of great artwork in this category as well! Blake Gore's tiny drawings in booth 928 are worth the trip, as are Kristin Moger super-detailed drawings in booth 901 and the collages of Kate Norris in booth 225. Hannah Wave Flower in booth 948 says that "my work is my offer. An ice-breaker; an invitation to an exchange of perspective and unhampered self-expression." It is that and more - go see her work!

Photography: WOW! Every photog here is a gem! Anne Knife in booth 111, James M Cole in booth 406, Scanlan Photography in booth 622-623, and Kyle Wilson in booth 203.

During the Festival, Baltimore-based interdisciplinary artist Hoesy Corona will present Hacia la Vida, a site-specific performance that explores migration and displacement caused by climate change. Performers will process through the Festival streets adorned in intricate sculptural costumes created by the artist that simultaneously make their bodies anonymous and hyper visible. Using the archetype of the traveler and the anthropomorphic representation of mother nature, this performance humanizes the figure of the immigrant and celebrates the power and beauty of nature.

Dora Patin

As I noted earlier this week, this March, we will return to our 17th year in a row (less the year of the attack of the Covidian monster) to the Affordable Art Fair in New York City, we're bringing in a whole new group of artists from the DMV, most of whom I first met via their artwork when I juried the 2022 Paint the Town event in the pretty area of downtown Kensington, Maryland.

Let me repeat myself: jurying any art show always exposes the juror to new talent, and when I juried this show, as 2022 Paint the Town I often do, I selected some of my fave artists to bring to NYC for an art fair.  In my mind we wanted to "curate" a booth for the fair that showcased realist work at its best. Booth curation is a somewhat subjective process (pun intended).

And one of my prizewinners (in fact the Best in Show winner!) Dora Patin is coming to NYC with us in booth D-10 at the fair!

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. She's yet another great testimony to the teaching skills of Glen Kessler at The Compass Atelier.

Note the facility in delivering one of the hardest subjects to fool the eye: paper. 

In this new series focusing on cards, Patin flexes her painting skills to deliver superb work that not only fools the eye, but also subtly reminds us that it is a painting.  These are opposite goals on the horizon of an artist as he/she commences a new work, and yet, in these works she accomplishes both of them easily. This is sooooo hard to do, and yet she accomplishes it with deceptive ease.

The Optimist by Dora Patin
c. 2023, 5x7 inches, oil on panel

Monarch by Dora Patin
5x7 inches - Oil on Panel c. 2023 

Luck or Skill? by Dora Patin
c. 2023, 12x12 inches, oil on panel

Patin's works will be in booth D-10 at the Affordable Art Fair New York City, March 22-26 in Chelsea.

Jennifer Kahn Barlow

As I noted earlier, this March, we will return to our 17th year in a row (less the year of the attack of the Covidian monster) to the Affordable Art Fair in New York City, we're bringing in a whole new group of artists from the DMV, most of whom I first met via their artwork when I juried the 2022 Paint the Town event in the pretty area of downtown Kensington, Maryland.

Let me repeat myself: jurying any art show always exposes the juror to new talent, and when I juried this show, as I often do, I selected some of my fave artists to bring to NYC for an art fair.  In my mind I wanted to "curate" a booth for the fair that showcased realist work at its best. Booth curation is a somewhat subjective process (pun intended).

And one of my prizewinners is coming to NYC: Jennifer Kahn Barlow! She is "an oil painter inspired by food.  She is stirred by vibrant, texturally dynamic, and unique cuisine, which leads much of her subject matter to be of confectionary, the gooier and more colorful the better."

She is that... but what Kahn Barlow truly is goes beyond that - she's a master artist who elevates and transforms the visual aspect of food to the visual beauty of food as only a well-executed work of art can do. 

Blossom Stack by Jennifer Kahn Barlow

In Blossom Stack there are three stacks of color disguised as macaroons... the brushwork comes through first and foremost - it's a painting first and a painting about dessert second.  At the risk of repeating myself: Only a really good artist can elevate the mundane to the sublime through the gift of art!

Kahn Barlow's works will be in booth D-10 at the Affordable Art Fair New York City, March 22-26 in Chelsea.

Jennifer Lynn Beaudet

I was at Strathmore yesterday to review the Compass Atelier show on the second floor - amazing show. The review will be in the next issue (February) of the Crier Media Newspapers.

I first came across Jennifer Lynn Beaudet’s work at the Paint the Town event last year which was my honor to jury -- as I recall she was an honorable mention winner at that show.

Her work at Strathmore is amongst the best in a show where there is not a single bad painting.

This artist has that hard-to-describe ability to capture the human essence of her subjects in paint. 

Connections - 24x24 oil on canvas by Jennifer Lynn Beaudet

That sentence is so easy to write and so immensely difficult to deliver on canvas. Her human subjects in two dimensions of paint are able to transmit visual clues and nuances that help to decipher and understand something individual about them.  

This is an exceptional gift that few artists have in such abundance as this artist does, and she flexes this gift via her artistic muscles in nearly every work in this show!

Amanda Coelho

This March, as we return to our 17th year in a row (less the year of the attack of the Covidian monster) to the Affordable Art Fair in New York City, we're bringing in a whole new group of artists from the DMV, most of whom I first met via their artwork when I juried the 2022 Paint the Town event in the pretty area of downtown Kensington, Maryland.

Jurying any art show always exposes the juror to new talent, and when I juried this show, as I often do, I selected some of my fave artists to bring to NYC for an art fair.  In my mind I wanted to "curate" a booth for the fair that showcased realist work at its best.

One of them is the superbly talented Amanda Coelho.

Coelho has only been painting since 2018, and thus in artistic developmental years, she's still a baby, but a baby with formidable crawling skills, and one who can already wield brush superpowers which emerge here and there in several of her works.

A Bear Necessity by Amanda Coelho

In "A Bear Necessity", she lets the color (green in this case) tell the entire narrative of the work. In doing so, with just the barest hint of white highlights, she not only illuminates the subject gummy bear, but creates the depth and illusion of depth in the painting.  She has accomplished what only a good painting can do: deliver a most common and trivial subject to the sublime status afforded by a good painting.

See it again on another trivial subject, a chocolate kiss, now forever immortalized as a spectacular triumph of painting skills over subject matter.

A Kiss is just a Kiss by Amanda Coelho

Coelho's works will be in booth D-10 at the Affordable Art Fair New York City, March 22-26 in Chelsea.

The Campello Art Fair Model (again)

I first proposed a slightly different version of this art fair model to all the organizations mentioned in this article about a decade ago, when there was (even then) a sense of art fatigue brewing in the art world. Result: zip, nada, nothing! No one even answered my letters (remember letters?).

In a post Covidian world, I suspect that a lot of people will still be a little leery of large group gatherings, and art fairs based on pre-Covidian standards may be a bit antiquated in the Brave Chickenized New World.

Herewith a revised Campello Art Fair Model.

The important thing to remember, as I mull, chew, and refine a "new" art post-Covidian fair model to replace the existing pre-Covidian art fair model, which in its American incarnations seemed to work well only in Miami and New York, but not so well in the West coast (and as we DMV-based folks have seen with (e)merge and artDC, not at all in the capital region), is the marriage of a legitimate art entity (a museum) with an art-for-sale process as a means to raise funds.

The seeds for this model already exist in the DC region with the Smithsonian Craft Show, now in its third decade.

Considered by many to be the finest craft fair in the world -- and from the many artists that I have spoken to over the years -- one of the best places to sell fine crafts as well, this prestigious and highly competitive juried exhibition and sale of contemporary American craft usually takes place each April for four days. It takes place at the National Building Museum in Washington, DC and it includes one-of-a-kind and limited-edition craft objects in 12 different media: basketry, ceramics, decorative fiber, furniture, glass, jewelry, leather, metal, mixed media, paper, wearable art and wood.

There were 120 exhibitors in their last show, including emerging artists and master craftsmen, over 30 of whom were first-time participants. Twelve of those selected were also first-time applicants to the show. All were chosen by a panel of expert jurors from a highly competitive field of close to 1,400 applicants.

So, we have a model for crafts in DC which has been working for over 30 years.

See where I'm going?

Can we envision the Smithsonian American Art Fair?

Or... The Smithsonian American International Art Fair?

The SAIAF would dramatically expand the business model of the Smithsonian Craft Fair to a National Mall-wide - outdoors - or even a citywide art fair anchored and guided by the Smithsonian Institution, and possibly either:

(a) spread throughout the various accommodating outdoor spaces at the various SI locales around the National Mall or even…

(b) in temporary art spaces, booth, or containers on the open spaces of the National Mall itself!

The latter is not as big of a deal as it sounds.

The National Mall already hosts a spectacular variety of outdoor events on the Mall spaces where complex display spaces are temporarily built, secured and just as quickly dismantled, grass re-seeded, and by Monday the Mall is back to normal.

Boom!

For art, all we need is protection from the weather and security. Perhaps even a combination of "free" (to the public) set of exhibitors (maybe out on the Mall) coupled with a paid admission set of exhibitors inside SI spaces -- or just make them all free to the public?

Details... details...

This new fair model would be open to both commercial art galleries and art dealers, as well as to art schools, and (and here's the key "and") to individual artists and cooperative artist-owned galleries.

Size matters… just ask Salvador Dali, who once said: “If you can’t paint well, then paint big!”

Would 1200 galleries, dealers, schools and artists in a mega, new-model art fair raise some interests from art collectors to come to DC for a long weekend in May?

It would if it attracted 100,000 visitors to the fair instead of 10,000 (like the looooong gone art fair artDC once attracted).

Are you aware that in May the Bethesda Fine Arts Festival in nearby Bethesda attracts 30-40,000 people to the streets of Bethesda for this artist-only street fine arts fair? or that also in May the Northern Virginia Fine Arts Festival attracts the same number of people to the streets of the Reston Town Center to buy art from individual artists?

Both Bethesda and Reston have two of the highest median household incomes in the US. And I am told that the Greater Washington, DC region has the second highest concentration of multi-millionaires in the world.

The money is here - the key is to get the disposable income crowd in touch with the art.

Both Bethesda and Reston manage to accomplish this one weekend each year. Do not, under any circumstances assume that these are "street fairs" where teddy bears, country crafts, and dried flowers are sold. These are both highly competitive fine arts outdoor fairs where artists from all over the nation come to and compete for spots because artwork sells well.

I have seen $80,000 worth of sculptures sell to one collector in Bethesda and a painter with a price point of $17,000 sell out in Reston.

Do not let the snobby attitude of the high art world affect your preconception of what these two street art fairs are like; go visit one this coming (and hopefully post Covidian) and open your eyes. In 2021 the fairs slipped from May to later months… but I am sure that they’ll be back to May in 2022.

And because of them, and because of the success of Art Basel Miami Beach, we know that given a certain critical mass, people will come out to an art fair. The primary key for art dealers to have interest in an art fair is sales (and also exposure to new collectors, museum curators, etc.), but mainly sales.

If you are a British gallery, by the time you get yourself and your artwork to Miami Beach, you're in the hole a whole bunch of Euros and British pounds; if you don't sell anything (like it happened to a British gallery in artDC and an Israeli gallery at another fair), chances are that you won't return to that fair.

But increase the public attendance numbers exponentially, and Economics 101 tells you that sales will also increase exponentially. And unlike the hotel-deprived artDC location at the Convention Center, I am told by DC's tourist gurus that the National Mall is already a magnet location where visitors, regardless of where they are staying around the Greater DC region, flock to during their visits to the capital.

Since two major Greater DC area street art fairs already exist in May in the Greater DC area, we can even consider aligning the weekends so that both Reston, Bethesda, and the Smithsonian American International Art Fair all take place on the same weekend!

Offer free bus service between Reston and Bethesda and the National Mall for collectors to hop around during the fair weekend, and a public buzz alignment will begin to happen. The Smithsonian American International Art Fair starts on a Thursday through Sunday and both Reston and Bethesda continue to run on Saturday and Sunday. And the Smithsonian American International Art Fair is focused as a major fundraiser for the cash-hungry SI.

A formula of booth prices + perhaps a 5% commission on all sales (both tax deductible for American galleries) would take care of temporary Mall booth construction, re-seeding of grass, and booth construction inside SI venues and still yield a nice chunk of cash for the SI.

If there's commercial success and high public attendance, soon we'd see some satellite hotel fairs popping up all over DC and its easy-to-get-to suburbs; the Phillips will jump on the bandwagon right away.

ABMB had 26 fairs all over Greater Miami last December. Another DC-unique element to the above model, and an important element that only a Washington art fair weekend can add: include the Embassies!

In addition to all the above events taking place, the fair could also align with shows at 15-20 embassy galleries around DC. The embassies would showcase one (or a group) of their national artists, and then the fair would really have an international flavor, and the beginning seeds of an American Venice in the DMV.

DC is a small city; it's fairly easy to set up transportation between the embassies and the Mall. In fact, some embassies could probably set that up themselves.

I think that this "new" super model could (and eventually when someone delivers and implements it -- it will) challenge Miami Beach -- and yes, I am aware that DC in May is not Miami in December -- but I also think that the District's own museums and public attractions trump Miami's anytime, so the DMV has something different to offer the potential collector who may be considering attending a new art fair in a city (like DC) that also offers him/her some other cultural and visual attractions besides good weather, and nice beaches… and Calle Ocho.

DC art commissioners... Smithsonianos... DC city fathers and mothers.... call me!