More balls on the court

Alexandra opines on the whole Jacob Lawrence, race and art issue.

Read it here.

Can Bailey and Capps be next?

Update: Capps here and he makes a good point.

For Emerging Artists

Deadline: October 1, 2007

The Center for Emerging Visual Artists "strives to provide the essential support services and programs emerging artists need to build sustainable careers." They're offering a career development and Exhibition Program for emerging artists

Their free two-year Career Development Program offers a select group of highly talented artists:

• Two-year fellowship period and lifelong alumni affiliation
• Exhibitions in regional, national, and international venues
• Professional development seminars
• Opportunities to meet patrons, gallerists, and curators
• Assistance with the marketing and sale of artwork
• Individual career counseling sessions
• One-on-one sessions with mentors, chosen from the Board of Artistic Advisors
• Opportunities to gain career experience while giving back to the community
• Alumni exhibition series
• Alumni goal-setting group
• Alumni Travel Grant Program
• Monthly newsletter updating fellows and alumni on regional, national and
international opportunities for artists.

Eligibility requirements include:

- Applicants cannot be in school.
- Applicants must live within 100 miles of The Center (Artists in Baltimore, Harrisburg, and the five boroughs of New York City are eligible; Washington, DC artists are not).
- Applicants cannot have a contractual agreement with a commercial gallery.
- Applicants cannot have had a solo show in a commercial gallery.

For more information and an application, log on to www.cfeva.org or call 215-546-7775 x 12 or email Amie Postic at amie@cfeva.org.

Art Bucks

Cultural organizations and their audiences in the Greater Philadelphia region apparently spend $1.3 billion annually.

This is according to the Greater Philadelphia Cultural Alliance’s report released today: Arts, Culture, & Economic Prosperity in Greater Philadelphia.

"The report documents 40,000 jobs generated by the economic activity of the cultural sector and $158 million in taxes returned to state and local communities."

Read the report here (scroll to bottom).

This evening at Transformer

Today, Thursday, September 27, from 6:30 - 8pm, DC's Transformer has Holly Bass in "Pay Purview."

Pay Purview is an ongoing multidisciplinary work combining live performance with original recorded music and video. Pay Purview is an exploration of the role of women in commercial hip hop music and videos.

In the live performance for Transformer, Holly Bass wears a "booty ball" costume piece made of playground balls to create an exaggerated, oversized, Hottentot-style derriere. Presented in Transformer's storefront window space, the audience, participating from the sidewalk outside the gallery, is asked to pay a dime for each viewing. A curtain opens for a short time and the performer dances to a selection of songs ranging from Rodgers & Hart's "Ten Cents a Dance" to Sir Mix-A-Lot's "Baby Got Back." The dance scenes range from mock burlesque to video-ho-booty-shaking to ethnographic display depending on the selected tune and the performer's impulse.

Details here.

Back to me

The Seattle PI's sharp art critic Regina Hackett takes me to task for my description of Jacob Lawrence a few days ago while I was in the process of delivering an irate and foul-mouthed rebuke on how Lawrence was labeled. Read her post here.

And in retrospect, that description obvioulsy delivered more than intended, which wasn't a character attack on Lawrence, but simply my recollections, observations and opinions from the perspective of a young art student about one of his teachers. All in a handful of words selected at the speed of light to be complimentary, or so I thought!

The comments about Lawrence as a teacher - especially coming from me, and let me tell you I was a beauty of an asshole student: demanding, combative, loud-mouthed, challenging, feh! - would essentially be how (unfortunately) I would describe practically any of my art professors at the time and somehow still translating to 2007 - from the eyes and memories of a juvenile art student - not just to Lawrence but probably could apply also to Alden Mason, Frances Calentano, Everett DuPen (who was very gentle) and others from that lively period at the UW.

Perhaps I should have used the adjective "difficult" (in fact I have corrected my post to say just that). I did say that he was also a "brilliant teacher" to others, as a way - I thought - of showing that I was relating my own biased experience and perspective as a student about a faculty member.

Are there any art students out there who don't think that some of your prefessors are assholes difficult?

All it takes is a B minus and you're doomed, partner!

I also described him as a good drinking buddy - that's a good thing - I think.

I also described him as an opinionated bastard - That was meant as a compliment - I certainly consider myself an opinionated bastard, and Lawrence's opinions, especially when translated to canvas or paper, were what made his work earn him the title of a great artist.

And Hackett is correct: he was also a very generous person; especially with his time and opinions, and even with his artwork (which as I recall used to drive his art dealer crazy).

And a great artist.

PS - Here is an earlier 2007 post on Lawrence where I wrote: "He is/was of one of the most influential and courageous American artists who's never been given a show at the National Gallery of Art."

And here in 2004 I also question why the NGA has ignored Lawrence for so long.

Big changes

I hear that there are big changes coming to the Washington Post. Stay tuned.

It only took them 17 years

A previously unknown painting by Amadeo Modigliani has been discovered.

The "Portrait of a Man" dates back to around 1918, said a Modigliani expert Christian Parisot. It was authenticated after 17 years of expert checkup, Parisot, the director of Modigliani's Rome-based archives, said.

Read the AP story here. Something in the article raised my eyebrows a little: "The canvas measures 46 x 38 cm (18 x 15 inches) and shows an unknown young man. Experts said the oil colors had been watered, a sign that the artist was poor at the time of the work."

I was not aware that oil colors could be "watered." In fact, I'm not aware of any technique where this is even possible.

An oil paint can be stretched and diluted by using a paint thinner, such as turpentine, which is usually the cheapest (and nastiest) thinner around, but unless I missed something in art school, one can't add water to oil paints (especially at the turn of the last century) to stretch the oil paints.

Some "new" modern oil paints can now be diluted with water, and there are some odorless paints thinners out there, but nothing that Amadeo would have had available during his lifetime.

I suspect that the AP article meant to say "diluted" rather than "watered."

Pedantic me.

Moves

Stand by early next week for a major announcement from an important DC area arts venue which is not only relocating but also somewhat re-inventing itself by going back to its solid and independent roots.

This Friday in Philly

Pentimenti Gallery opens its fall season this year with two solo exhibitions of works by Rachel Bone and Kevin Finklea. The exhibitions run through October 27, 2007 and the reception is this Friday, September 28 from 6 - 8 p.m.

Zinger!

Thanks to those of you who brought to my attention Seattle Post-Intelligencer's art critic Regina Hackett's irate post on the exact same point on Jacob Lawrence that made me so exasperated and foul-mouthed here.

Hackett writes:

"The disgrace belongs to the Post. Staff writer Jacqueline Trescott identified Lawrence as "one of the greatest African-American artists of the 20th century."

Aren't we past this? I look forward to the day the Post identifies Jackson Pollock as one of the greatest white artists of the 20th century. Because white appears to be this writer's assumed context, she notes only difference, black as a special case. (Diversity trainers: The Post needs you!)"

But it gets better, after making a good point about using an image of the painting in question for the WaPo article (and a rather weird comment on Mrs. Bush eyeliner), Hackett then writes:

"A smart newspaper would have printed a clear image of the painting and accompanied it with a sidebar by an art critic, covering the information Dangerous Chunky had about its market history as well as an assessment of its merits and its maker's place in history.

Oh wait. I forgot. The Post doesn't have an art critic. It has Blake Gopnik. Jaunty, arrogant and uninformed, he's easily the worst art critic at a major newspaper in the country."

Mamacita!

Did an art critic from a major metropolitan newspaper just call the Washington Post's chief art critic "jaunty, arrogant and uniformed?"

Did she also rank him as "easily the worst art critic at a major newspaper in the country?"

I'm going to have to mull on that for a while.

Trescott Blows It

I started writing this commentary a week ago, when the story was first published in the WaPo, and somehow I didn't publish it as soon as I wrote it, as I was traveling.

And today I came across it again, and it pissed me off even more.

I tend to criticize the WaPo mercilessly for their crappy fine arts coverage, and they generally deserve it. But one constant source of light and enlightment in their shitty fine arts coverage is Jacqueline Trescott.

Trescott usually writes savvy, intelligent words for the WaPo's precious few fine arts Illuminati.

But, in my pedantic view, she really fucked up in this article almost a week ago.

Why?

If you've read my ramblings long enough, then you know that I am not a big fan of artistic segregation.

I don't think that there should be an arts museum just for women, or African-Americans, or Latino/Hispanic Americans.

I think that museums should be driven to include meritable art by artists, regardless of race or ethnicity, who deserve inclusion in a museum collection -- and which should be open to all artists, not just artists of a certain geographic or ethnic presence.

Not guided by percentages or demographics or numbers, but merit, and regardless and in spite of skin color, skin hues, last names, or religion.

And this is where Trescott blows it.

In the article she refers to one of my art school professors and influences as "In its recent renovation of the Green Room, the White House has given a place of honor to a newly acquired masterpiece by Jacob Lawrence, one of the greatest African American artists of the 20th century."

Jacob Lawrence, pen and ink, circa 1980 by F. Lennox Campello
In an Private Collection
In my own personal experience, Jacob Lawrence was pretty close to an asshole difficult as an arts teacher (which sometimes means that he was also a brilliant teacher to students other than me), a pretty good drinking buddy, and an opinionated bastard. But Lawrence and his artwork was also without a doubt (in my opinion) one of the greatest American contributions (and artists) of the 20th century.

Period.

Not "one of the greatest African American artists of the 20th century."

And Mrs. Bush shows some remarkable insight in selecting this work:

It was purchased for $2.5 million at a Christie's auction in May by the White House Acquisition Trust, a privately funded branch of the mansion's historical association. Mrs. Bush had wanted a Lawrence work since a personal friend lent her Lawrence's "To the Defense." It hangs in the Bushes' private dining room. "And because it's on the wall that I look at from my chair in the dining room, I just grew to like Jacob Lawrence more and more," she said.

Bravo to Mrs. Bush - she went with her guts and feelings; Boo-Hoo to Trescott - she went with her hard-wired "formation" in always trying to label Americans.

And I'll keep my own original Jacob Lawrence on my walls, as I have for years since I acquired it in Art School, and refer to him as a great American artist when people ask me about it.

Period.

---

Update: Below is an image of the painting in question - with thanks to Dangerous Chunky.

Lost Art

While I was a student at the University of Washington School of Art (1977-1981), one of my school projects involved taking a mannequin deep into the woods around the Seattle area, and then fixing the mannequin onto a tree.

Once the figure was attached to a tree, I would either cover it in glue, or spray it with photo fix glue, and then cover it in tree mulch, bark, and dirt. Then I would completely glue pieces of bark to the figure, and thus make it "blend" onto the tree that it was affixed to. Eventually, the figure would be (at least visually) part of the tree, as if the figure was growing from the tree itself.

Most of these projects were done in Mt. St. Helen's as I had a school friend whose family lived at the bottom of the mountain, and it was thus convenient as he was my guide around the mountain's ape caves and trails). I suspect that all of them were destroyed by the volcanic eruption of St. Helen's on my wedding day in 1980.

I took many slides of the finished installations, but because after art school I moved to Europe, and then returned in 1985 to go to postgraduate school, while I was at postgraduate school in California, I put about 30 boxes of books and photos and slides and clothes, etc. in storage with my then sister-in-law in Washington state.

Then, while she was on vacation, a pipe in her house broke and flooded her basement for several days. Not only did I lose many, many slides of artwork, but also lot of art, all of my disco clothes (probably a good thing), plus a couple hundred books, including my copy of a hardbound first edition, first printing of Tarzan of the Apes (now worth around $35,000 big ones)... and no, insurance did not pay for it; none of it.

"Mujertree with Broken Arms" (from Daphne series) circa 1980. Pen and Ink. 10 x 8 inches.
Collection of the Artist
I do, however, still have some of the preparatory sketches (above) that I did over the years, and the memories of my student artwork that has been twice wiped out by the forces of nature, as if upset that I was re-arranging and humanizing nature.

"Daphne" circa 1995, Charcoal on Paper, 30 x 20 inches.
Private Collection in Richmond, VA
These nature installations were part of what I called the "Daphne series," and which continues to this day, mostly now in drawings and etchings (above and below), although I am preparing to re-start the mannequin part all over again, in a sense kindled by the tree massacre that took place just down the street from my house, and all the woods around here.


"Daphne" circa 1994, Charcoal on Paper, 40 x 30 inches.
Private Collection in Charlottesville, VA

Maryland State Arts Council opening

Join the Maryland State Arts Council at the James Backas Gallery in Annapolis on September 28, 5-8pm (Gallery Talk: 6:30 PM)for the Opening Reception of "Celebrating 40 Years - Showcasing 40 Artists," curated by Oletha DeVane.

The exhibiting artists are: Maria Anasazi, Kristine Yuki Aono, Maria Barbosa, Denee Barr, Sylvia Benitez, Ellen Burchenal, Paul Daniel, Linda DePalma, Helen Elliott, Anna Fine Foer, Espi Frazier, Helen Frederick, Mia Halton, Leslie King-Hammond, Maren Hassinger, David Hess, Tonya Ingersol, Chevelle Makeba Moore Jones, Gard Jones, Gary Kachadourian, Maria Karametou, Robert Llewellyn, Janet Maher, Jose Mapily, Allegra Marquart, Diana Marta, Cara Ober, Stephen Pearson, Gina Pierleoni, Leslie Snyder Portney, Camille Gustus Quijano, William Rhodes, W.C. Richardson, Joyce S. Scott, Christine Shanks, Piper Shepard, Laurie Snyder, Edgar H. Sorells-Adewale- Renee van der Steldt, and Michael Weiss.

The exhibition is through December 19, 2007.

New Alexandria gallery

At 22,000 square feet Art Whino, the largest privately owned, independent commercial fine arts gallery in the greater DC region opens October 19, 2007, in Old Town, Virginia.

Located at 717 N. Saint Asaph Street in Alexandria, Art Whino will open its doors for the first time with two exhibits: a solo show by artist Derrick Wolbaum and the opening of the Art Whino Permanent Gallery featuring the work of the gallery's collaboration with artists from around the world who are what the gallery describes as "innovators worldwide of the current new art movement otherwise labeled Pop-Surrealism, Lowbrow and Urban Contemporary."

The grand opening event, running from 6-11pm, will include music by DJ Stylo.

Among the artists represented are (some DC area artists are highlighted): Amose, Angie Mason, Anna Thackray, Brad Strain, Brian Tait, Bruce Anderson, Celia Calle, Chris Bishop, Derrick Wolbaum, Dzaet, Erik Abel, Esho, Garry Booth, Hong Kong, J. Coleman, JimBot, JoKa, Justin Lovato, Keith Rosson, Kelly Towles, Ken Garduno, Lelo, Luz Del Mar Rosado, Margaret Dowell, Mary Spring, Marko Davidovic, Mephisto Jones, Morten Andersen, Olivier Defaye, Kelly Vivanco, Peter Harper, Pixielife, Rick Reese, Robert Pokorny, Scotch, Scott G. Brooks, Scott Musgrove, Stephane Tartelin, Steven Thomas, The Love Movement, Sebastian Andia, and Tamira Imondi.

New Baltimore Gallery

Just opened last month and focusing on artists from Latin America and Spain is Obras Art Gallery at 1706 East Pratt Street in Baltimore.

Uh?

"in America, there are no cats..."
- Papa Mousekewitz, c. 1986

"in Iran, there are no homosexuals..."
- Mahmoud Ahmadinejad, September 24, 2007

At Howard

"Origin and the Landscape" - Prints and Drawings by Lou Stovall opens next Sunday, September 30, 3:00 - 6:00POM at Howard University Gallery of Art.

Related Programs:

"Conversation with Students." Friday, October 5th, 2007 12:10 pm - 2:00 pm.

"The Art of Silkscreen Printmaking: A Technical Discussion of the Process and Demonstration", Tuesday October 16th, 2007 6:30 pm - 8:30pm.

"Gallery Talk and Tour with the Artist." Sunday November 18th, 2007. (changed from Nov. 4th) 3:00 pm - 5:00 pm.

All programs held at Howard U. Gallery of Art, Main Campus, in Lulu Vere Childers Hall, 2455 6th Street NW, Washington DC 20059. For more information call (202)806-7070. Exhibition dates are September 30th to December 14th, 2007.

Stovall is one of the nation's true master printmakers and easily one of the District's top artists.

Star Wars on Earth

You knew it was coming... only question is why did it take so long? I've been hearing good things about this show in DC.

(Deep, asthmatic Darth Vader breating)

"Landscapes / Star Wars on Earth" is a solo exhibition featuring two bodies of work by French photographer Cédric Delsaux. According to the gallery press release:

Delsaux's digital photographs combine myth and reality. The work is subtle and serene in his Landscapes series, and overtly humorous in his Star Wars on Earth Series, in which Delsaux photographs toy figurines and then digitally places them in Parisian suburbs. His training in commercial photography is evident with his play on branding in the Star Wars on Earth series. Conversely, in Landscapes, traces of human existence are either remote or totally absent. In both series, the expansive and dream-like scenes combined with colors that contrast the washy with the bold is what captivates.

The exhibition is at Project 4 in DC through October 20, 2007.

Grand Opening of new art space

Next Sunday, September 30, 2007 from Noon to 5pm, VisArts at Rockville, formerly known as the Rockville Arts Center (or RAP) and an arts venue with over twenty years of celebrating the visual arts, will be having its grand opening dedication for its huge new space in Rockville.

Now open in the Rockville Town Center, VisArts Center is located at 155 Gibbs Street, Rockville, MD 20850. The center serves the community with gallery exhibitions, arts education, outreach to schools and communities, and showcasing resident artists.

For more information, visit www.VisArtsCenter.org or call 301-315-8200.

"Big Al" Carter

By Shauna Lee Lange

The Alexandria Black History Museum is currently hosting a photographic exhibition of Allen D. "Big Al" Carter's work. All photographs were taken in the 1970s in Leesburg, Virginia.

Titled "God Has Made A Way in Leesburg," the exhibition runs through January 20, 2008. In this second exhibition at the museum, Carter explores his family connections in one moment of time - working, relaxing, and surviving more than thirty years ago.

Then space was open, homes were modest, life was simpler. And although Carter's male relatives have sadly left us, Carter looks back on their influence and inspiration, and he sees valuable messages: Make the best of what you have; Enjoy the gifts you're given.

Carter, a Virginia native, loves Virginia history and is proud of the advancements made by African Americans. In May of 2006, the Washington Post called his talent "inexhaustible creativity." Sometimes known as Big Al, Al, or Big, Carter while teaching in Arlington, calls himself a "burnt umber man."

He is a poet, a painter, an educator, a sculptor, a music lover, and at times an insomniac. Two of his works can be found in the Corcoran's permanent collection and more should be acquired by other Virginia museums and institutions.