Giants

A couple of new tiny drawings of two art giants. Each charcoal is about one and a half square inches.

"Man Ray"
Charcoal on Paper. 1.5 by 1.5 inches. 2007
By F. Lennox Campello
In a private collection in Richmond, VA


"Marcel Duchamp"
Charcoal on Paper. 1.5 by 1.5 inches. 2007
By F. Lennox Campello
In a private collection in Richmond, VA

Makes sense

Mike Licht solves the Jacob Lawrence issue. He writes: "You (and Regina Hackett) can assume your readers are familiar with Jacob Lawrence. Jacqueline Trescott can't."

Great point and case closed.

At the Corcoran

This month, the Corcoran opens the photography exhibition Annie Leibovitz: A Photographer’s Life, 1990–2005, as well as Wild Choir: Cinematic Portraits by Jeremy Blake, which features three digital media projects by the late artist.

More interesting to me is their "2007 Alumni Juried Exhibition, Recent Graduates: 2002–2006." That exhibit goes through September 30, 2007, so hurry and go see it. It was juried by Molly Donovan, curator of modern and contemporary art at the National Gallery of Art and it's at the Corcoran's "new" Gallery 31.

Gallery 31 is the Corcoran’s newly dedicated exhibition space for the Corcoran College of Art + Design. The space will host exhibitions by the Corcoran’s faculty, students, alumni, visiting artists, and annual senior thesis exhibitions. Located at the New York Avenue entrance of the Corcoran, Gallery 31 will be open during Gallery hours and will be free to the public.

Come again?

Recently, a respected art collector in Portland, Ore., walked into a local gallery. The owners greeted her warmly, and ushered her to the back room to show off their latest acquisitions. After politely declining several works, the collector chose a $5,500 porcelain sculpture shaped like a basket and covered in tiny, platinum elephants. "She has such a great eye for art," gushed the gallery's co-owner, MaryAnn Deffenbaugh.

The collector, Dakota King, is 9. In a collision of the art boom, the wealth boom and the Baby Einstein approach to parenting, galleries and auction houses around the country report that children who aren't old enough to drive are building collections that include works by Jasper Johns, Andy Warhol, Camille Pissarro and Rembrandt. At Sotheby's in New York, an 11-year-old boy with blond ringlets waved a paddle last fall and successfully bid $352,000 for a Jeff Koons sculpture of a silver gnome. Some teenagers are flipping art for quick profits. A few grade-schoolers are even loaning works to major museums, including Houston's Museum of Fine Arts, a coup for a collector of any age.

[stunned silence follows]...

Read the article by Kelly Crow in the Wall Street Journal here. It is a really, really a well-researched and interesting read by the way.

Day of the Dead

Pencil this date in and come party Day of the Dead style, with art, workshops, altars, music, spoken word, dancing, marigolds and the souls of the departed when Arlington's Art Outlet presents “Ofrenda: Art for the Dead” from 3 p.m. to midnight on Saturday, October 13.

Twenty artists will show their personal altars and offerings, or ofrendas. Workshops will teach kids and adults about the Dia de los Muertos tradition. Details here.

- Day of the Dead Workshop: Sugar Skulls 3 – 5 p.m.
- Mariachi Band 5 – 6 p.m.
- Film Screening by Zulma Aguiar 6:15 - 6:30 p.m.
- Mud Pie 6:30 – 7:30 p.m.
- Flo Anito 8 – 9 p.m.
- Special Guest Appearance by Sarah Lovering 10:30 pm
- Aphrodizia featuring Yoko K. 10 p.m. – Midnight

Artists in the show are: Zulma Aguiar, Michael Auger, Jennifer Beinhacker, Alison Christ, Andrea Collins, Rosemary Feit Covey, Roni Freeman, Jenny Freestone, Vickie Fruehauf, Susan Gardiner, Angela Kleis, Emily Liddle, Rob Lindsay, Bono Mitchell, Thomas Paradis, Marina Reiter, Marina Starkova, Henrik Sundqvist, and Jack Whitsitt.

New case opened CP scribe Kriston Capps polices the whole Jacob Lawrence squabble and in the process comes up with an excellent point. According to Capps, "Betty Monkman, the curator of the White House, reveals that, while Lawrence’s painting isn’t the sole piece by a black artist in the executive mansion, it’s close to it — there are only two others." That's now three out of "an estimated 375 total in the White House’s art collection." 

Geez. 

That implies that Simmie Knox's portrait of Pres. Clinton is not considered part of the White House’s art collection, which doesn't make sense. Knox is a DC area artist by the way, and a brilliant painter. So let's take the first century and a half off the acquisition process, which probably just focused on American artists from one of the four races, and somewhat reverse my stand on segregating artists by race, rather than just artistic merit, and let me take the uncomfortable side of trying to ask the question "why aren't there more works by black artists in the White House collection?" 

Even if one ignores color, and just looks at the art and artistic achievement, there are plenty of great American artists, who happen to be black, that one suspect should be in the White House collection. Some art greats, by artistic default, I would think, would have to be Black, or Asian, or Native American, not just Caucasian artists - after all, all four races of mankind create art and all four and their many mixtures, live in America. 

 And let's say that the White House's collection is not exactly, ah... contemporary, which would eliminate a lot of good modern choices; and after all, the White House is not an art museum, but it sort of feels that it should be a classy arts conglomerate where all things say "America." 

Back in the 1980's, the great Jacob Lawrence was awarded the National Medal of Arts from Pres. George Bush The First. Why did it take 27 years for one of his paintings to become part of the White House's permanent collection? Capps identifies the other two paintings: "Henry Ossawa Tanner’s Sand Dunes at Sunset, Atlantic City (1885) also hangs in the Green Room, its home since 1996. And an 1892 painting by one “Bannister” (they likely mean Ed Bannister) acquired last year is currently undergoing conservation." 

So two of the three have been acquired by the Bushes, and before 1996 there wasn't a single work of art by any black artist in the President's home, in spite of the fact that artists such as Lawrence, Bearden, Gilliam, Puryear, and others are all just great American artists, period, and have even broken the National Gallery of Art code. 

Makes my head hurt.

Congrats!

Over the last couple of years I've curated a couple of exhibitions which have focused on a particular interest of mine, text in art. One of the key artists who has been a cornerstone of those exhibitions has been Nigerian-born Victor Ekpuk, formerly a DC area artist, but currently living in Europe.

And his work will be included in "Inscribing Meaning: Writing and Graphic Systems in African Art" opening Oct. 14 at the Fowler Museum at UCLA.

Bloodless waters

"Italy will drop its civil charges against former J. Paul Getty Museum antiquities curator Marion True, now on trial here for allegedly trafficking in looted art, Italian authorities announced Tuesday."

Will this news make it to the frenzied "guilty upon arrival on all counts" art blogs of the scribes who stake their electronic arts presence by being judges and jurors for unresolved museum scandals?

Let us see.

This is not to say that there was no blood in the water to start with... and some of the high-handed folks who sometimes run major museums do need accounting and someone nipping at their butt to keep them straight.

The returns effectively render moot the civil aspect of True's trial, in which Italy sought damages for the loss of its cultural property. True faces criminal charges along with American antiquities dealer Robert Hecht, 88.

"The withdrawal significantly lowers True's exposure," said Luis Li, a Getty legal advisor. The Getty is paying for True's defense.

Paolo Ferri, the Italian criminal prosecutor in the case, said he hoped the agreement would accelerate the pace of the trial, which began in July 2005 and has hearings about once a month, when not delayed by strikes or holidays.

Ferri said the criminal trial, the first in which an American curator has been charged by a foreign county, was intended to be both punitive and preventive. "The preventive aspect was to say to museums: Please stop this buying in an illicit fashion, and please return the objects," Ferri said in an interview Tuesday. "This has now been achieved, and museums that are obliged to surrender objects won't be in the same trouble."

He expressed confidence in winning a guilty verdict in the conspiracy case but called its significance "virtual."

"True is an American citizen and will be able to evade my penal sanctions by going to the U.S. With Hecht, he is too old to have a real prison term," he said.

"For me, the trial has been won," he concluded.

True has maintained her innocence throughout the proceedings. Harry Stang, True's attorney, said, "Dr. True, together with her defense team, will continue to pursue all steps necessary to establish her innocence of the charges. Her defense team will address further matters when and if appropriate."

But every lawsuit has two sides, and it's easy to achieve shock presence with big bites when the museum's blood is in the water and the big sharks are biting and the small pilot fish also wants to bite.

With all this attention on the issue, perhaps a closer look at Italian museums' holdings is warranted.

As I wrote last year: "does every Roman artifact in museums around the world have to be returned to Italy? And do Italian museums have to return Roman antiquities that were made in other parts of the Roman Empire to the nations that now exist there? And Italy better start packing the 13 Egyptian obelisks that are all over Rome: Cairo is clearing out some spaces for them."

Two sides to every story.

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