Airborne


Heading back home today exhausted but very pleased with the ABMB results.

Art Basel MB week: Day Five (Last Day)

Pretty much a repeat of Saturday as far as the size of crowds, although for some odd reason, I was told that people were being turned away about half and hour before the fair officially closed at 6PM.

One of the main reasons that artists and galleries must try to participate in the art madness that is ABMB week is what I call the "wake effect."

The wake effect is all the follow on business, contacts and even exhibition opportunities that happen because of ABMB exposure. For the next few days, and even months, events related to ABMB will happen to the artists and galleries which showed there.

Throughout the day the crowds were fairly good, and MFA managed to sell a couple more of my drawings, as well as a painting by Norfolk, Virginia artist Robert Sipes and as the fair came to an end, a deal was reached between MFA and a Miami collector for a Sheila Giolitti painting.

Also a Palm Beach gallery was very attracted to the work of DMV artist Joey Manlapaz and requested that we put Manlapaz in touch with them.

After six the tear down begins, and an entire week of working long hours (mostly standing up) begins to take its toll and galleries begin to bring art down from the walls, re-wrap and package it all for the return trek home and vans and truck jockey for the best loading spots.

MFA will be back in Miami next month, as the gallery is participating in the Miami International Art Fair at the Miami Beach Convention Center from 13-17 January.

Yes, amazingly enough, about a month after 25 or so art fairs consume Miami, another art fair returns to the area, and last year it attracted about 22,000 visitors.

See ya there!

Art Basel MB week: Day Four

Easily the busiest day of the fairs so far, with lots of crowds filling the tents at Art Miami, Red Dot, Scope and Art Asia in Wynwood and the streets around them.

At MFA, a day of highs and lows. Lows in the sense that there was a tremendous amount of interest at all levels with an inordinate number of near misses ("Wow! That's a really cool painting," she says to him. "I love it!", he adds. Looks at the price. "And it's really a good price"... they walk away).

Highs in the sense that this was the best day for sales so far. Sheila Giolitti sold two paintings, including her largest painting going to a collector in Washington state. MFA also sold a couple of paintings by Russian painter Alexey Terenin, and after an agonizing three separate holds with first right of refusal on Judith Peck's "Jus in Bello" painting (which has been selected for Virginia's CACVB "New Waves" exhibition early next year), the painting was finally sold to a Miami collector at the end of the night.

Also high in the sense that a local art advisor wants to hook up with Lou Gagnon to place some of Gagnon's gorgeous weather studies in some local collectors' homes, and also high that the curator from the Mobile Art Museum added Giolitti to his forthcoming "Southern Women" exhibition.

Next door at Scope, Civilian had sold out all six Trevor Young's brilliant paintings, so Scope has been good to all of them. I also saw some multiple red dots over at Hamiltonian's booth.

There was also some celebrity sightings: Alan Dershowitz haggling over some artwork and Raúl de Molina (El Gordo) from Univision's popular El Gordo y La Flaca TV show strolling around the fair.

That's him talking to the stunning Wonder Woman look-alike gallerina from Anderson Art Collective.

After closing, I headed out to Little Havana and with 15 relatives in tow, we invaded Versailles Restaurant for some late Cuban food. Even at midnight the place was packed and the food was (as usual) amazing. For desert: a torte made out of chocolate and mango.

Art Basel MB week: Day Three

Definitely lots more people today walking about the art fairs, if not necessarily buying the art off the walls, although there were certainly a lot more interest, loads more questions, lots more people asking for business cards and info on artists, some museum curators walking about, etc.

About 1% of all that will lead to actual sales later on in the "wake effect" of being at an art fair.

Some of the close calls were of the "WTF" kind. Such as the fact that Judith Peck's gorgeous and intelligent (and signature piece) "Jus in Bello" was twice in a "first right of refusal" status; twice!

And one couple has come back three nights in a row to look at one of Lou Gagnon pastels.

MFA today sold two Sheila Giolitti resin oil paintings, a couple more of my drawings, and one more Andrew Wodzianski android gouache as well as the first Alexey Terenin oil of the fair.

As I noted earlier, towards the end of the night I almost had my clock cleaned by an older British gent who was irate over my Guevara video drawing. A small crowd gathered as he threatened to hit me. Apparently his Cuban-born wife had been mistreated by Che in the early 60s in Cuba and also her brother had been executed by Guevara during his reign of terror as the chief executor of the Cuban Revolution.

Since this has happened several times this week, by now I have a "system", and soon he was all "explained-out" about the ying yang meaning of this complex piece. In the background, the gigantic figure of DC artist Andrew Wodzianski was covering my back while snapping photos with his phone as a curious crowd gathered. That's one of 11 pics he took.

Two more days left, although from my experience, Saturday is truly the last "real" day as Sunday is strollers day and pack out nightmare evening.

Art Basel MB week: Day Three (0730 report)

I'm almost punched out by a British old man who is married to a Cuban lady whose brother was executed by Che Guevara. He is offended by my video drawing of Che.

I calm him down and explain the piece to him. Andrew Wodzianski is in the background taking pictures; they will be up tomorrow.

Art Basel MB week: Day Three (1300 report)

I walked Scope today at noon and chatted with Civilian Art Projects's folks, dropped them two cold Bustelo's cafe con leche cans and took a walk through the fair. Civilian is showing DMV artist Trevor Young and has so far sold three of Young's gorgeous paintings.

Having walked both Art Miami yesterday and now Scope, I can offer the opinion that at least this year, Art Miami blows Scope away as far as the quality and depth of the art being exhibited. Both are also far better than Red Dot.

There is a lot of video in Art Miami, and a lot of video artists are now doing what DMV artist Tim Tate started doing years ago: taking the video out of the DVD player and incorporating it into sculptural elements. It's a lot easier to justify buying a video when you actually have it as a "showable" work - I think.

But anyway, Scope is somewhat suffering from the "so yesterday" look to a lot of the dated artwork being exhibited. To start, there's a disproportionate number of Chinese and other Asian artists in the fair, all showing the kind of work that was the rage of the art fairs three, four years ago, but that is now so diluted and overexposed that all that it gets is a glance. Then you realize (after talking to someone who knows this) that Art Asia and Scope are together under the same tent and sharing the same floor!

So all the Asian art is actually the Art Asia Art Fair and not the Scope Art Show, but nearly everyone that I talked to was as confused as I was: I thought it was all Scope!

In the real Scope there's also an abundance of artwork that appropriates Marylin Monroe's iconic images and puts them into glittery, shiny surfaces, odd surfaces, fill-in-the-blank surfaces, etc.

It is mostly crap, with the exceptional work of Romero Fudyma at Gallery Biba. Fudyma's sculptural approach to Monroe takes the icon to a stereographic three dimensions that has a hypnotizing effect.

There is also a lot of "angry artist" writing on the wall "art" -- sort of "so last century" work by a couple of European galleries. Speaking of writing, a Costa Rican gallery has a series of blackboards with chalk writing on them with repeated sentences as one would find in the old days when teachers would actually punish a Bart Simpson type kid with writing "I will not be late for school" 100 times on the board.

Yawn...

Other blase and thankfully out of vogue artwork still showing up for some reason at Scope are the big-eyed 1960 Sears type painting of kids that were all the rage a few years ago and that immediately upon falling out of rage a few hours later disappeared from the art scene, but it is clear that at least one gallery didn't get that fax.

One of the best set of works at Scope are the superb paintings by Rafel Bestard at Barcelona's Galeria Contrast. These gorgeous, sexy paintings are worth the trip to Scope alone!

There's a moist sensuality to Bestard's treatment of the subject matter, coupled with a photographic artifice that fools the eye, and which upon closer inspection reveals unexpected textural qualities that almost denies the first photorealism impression.

The sense of sensuality of the works on exhibit also have a strong dose of danger attached to them. Are these wet dreams or are they nightmares? Is the dreamer a frustrated sexpot or a dangerous psychopath?

My suggestion to the 2011 Scope gallery selection committee is simple: Shoot for a 50% refresh rate of new galleries; you need some new blood and need to adjust your rudder to 2011.

Art Basel MB week: Day Two

The fairs are all in full swing now, and Wynwood is traffic-jammed with people as I get dropped off at Red Dot for another day of art fairing.

In the early afternoon, a couple who had been there on opening night returns and acquires another one of my drawings. The piece will have to make a return trip to the DMV in order to be shipped to them. Soon after that a gorgeous Rosemary Feit Covey wood engraving finds a home in a California collection.

The well-known Texas video collector returns and kidnaps me to Art Miami across the street to show me her latest acquisition, and I swing by Chicago's Catherine Edelman Gallery, which is showcasing Tim Tate's self-contained video installations. There's already one red dot when I get there. The owner approaches me and asks if I'm familiar with Tate's work. I smile and respond yes. She says something along the lines of how everybody seems to know Tate.

I return across the street and my daughters have arrived, and almost immediately they depart and start touring the fairs. Meanwhile, Andrew Wodzianski, who is walking Art Basel in Miami Beach, texts me that he just ran into Steve Martin.

Over at Red Dot, Miami's Oxenberg Fine Art, which is also showcasing Tim Tate's videos, has also sold one of the self-contained video sculptures. Tate is having a good day at ABMB.

AT 6PM the booze starts pouring and this time is free margaritas for the crowds. The alcohol does little to loosen purses, although I do help to sell a couple more of my drawings.

A TV crew from Art Miami TV shows up and they are taken by Sheila Giolitti's luminous resin paintings and want to do a piece on them. Giolitti is a little nervous about being interviewed on TV and so she downs a beer to calm her nerves. The crew shoots a long clip on her and her work.

By 8PM my feet are killing me and my daughters and I head back to Hollywood for a Thai dinner on the beach.

Wanna go to a DC opening tomorrow?

Art Basel MB week: Day One

I arrive at 11 am and we take down the Rosemary Feit Covey triptych that we had laboriously set up the day before and replace them with some of Covey's strong signature pieces; it's just a gut feeling.

The day passes through slowly, and we are across from the Bustelo coffee stand, which has free chilled coffee drinks and free Cuban coffee all day long. Gallerists and dealers from Scope next door keep sneaking in through the tent's side door to grab free coffee.

Somewhere in the early afternoon MFA sells another Michael Fitts painting and I get into an almost fist-fight over the Che Guevara video piece. Later that day a well-known video collector from Texas drops by and MFA owner Sheila Giolitti sells her a video, sight unseen, by Norfolk video artist John Miles Runner.

DC artist Trevor Young, who is with Civilian Projects over at Scope, drops by and we chat about the NPG David Wojnarowicz controversy back in DC, about William Sickert, and about the arbitrary choosing of 22 seconds as the max time sample for audio. Young has sold three paintings so far at Scope and is having a well-deserved super fair.

At 6PM free tequila drinks begin to be served and now the invasion from Scope is in full mass as Scope artists and dealers use Red Dot's side door to sneak in and grab a free drink.

Later that night, the crowd thickens and Lynnvale's Lou Gagnon's elegant landscapes start to get a lot of attention from the Wednesday night crowd. At some point after that, Andrew Wodzianski cracks the ice and one of his "Android Series" (Bad Hair Day II (Sue Richards)) pieces finds a home with a Miami collector.

As the night moves, another Michael Fitts painting is sold and almost immediately I sell my Frida Kahlo homage drawing (done at the last possible minute), to one of the DMV's best known art collecting couples.

At seven the fair closes and I drive to Hialeah to pick up my daughter Vanessa at the airport and drive her to cousin Jorge's fortress house in Little Havana. When she arrives, she's hungry and Jorge feeds her sopa de chicharos.

Art Basel MB week: Day Oneish (Preview Day)

The day starts with last minute adjustments to the booth and artists' names and work title tags go up. By 3:30 the staff is kicking everyone out for a couple of hours in order for the cleaning crew to vacuum Red Dot's new black carpet before the grand opening preview at 6PM.

By 4:00PM I'm in my hotel in Hollywood showering and putting on the uniform for tonight's festivities. Little Junes is sitting on a makeshift high chair in the hotel eating Cheerios and wondering why dad is running around the room all in a hurry.

By 5:00PM we're out the door and driving the 15 miles to Wynwood. Miami traffic gets in the way and the drive turns into an hour and so I barely make it to the fair in time for the opening.

The cleaning crew is still working and by the time the order is given to stop vacuuming, as the doors will open to the invited VIPs and press, our booth is the only one that hasn't been cleaned and the brand new black carpet is littered with tons of white debris.

The floor looks so speckled with withe dots and paint and tape chunks that it almost looks like an installation worth of a booth at Scope (the story of what happened at Scope on check-in that will come later... it's a good one).

MFA owner and director Sheila Giolitti is justifiably upset and is searching for a broom to sweep the floor as she's told that no more vacuuming is to be done because of the fire marshall is on the premises.

Ahhh...

The crowd starts pouring in, and before all the good food gets scarfed up, I grab a couple of good plates of decent finger food and a couple of generously poured tequila mixers. There is a lot of free booze being poured away.

As usual, the elegant paintings of Russian painter Alexey Terenin get a lot of attention, as does Joey Manlapaz's hyper-realistic paintings. Also grabbing some good discussion are Judith Peck's series inspired by John Rawls' Veil of Ignorance thought experiments. The press is all over John Roth's sensuous sculptures and a lot of photographs of them are taken.

An interior designer grabs a lot of attention and time from gallery owner Sheila Giolitti. She's grabbing artwork from all over the place and discussing it in terms of this and that... she does this for almost an hour before disappearing on a trek to the bathroom.

My Che Guevara video piece is getting a lot of attention - mostly from people of Cuban ancestry familiar with Che's brutal excesses. An old man with tired blue eyes tells me in Spanish that I must take the drawing down or he will. I spend some time explaining the video piece to him and he apologizes and compliments me on the work. This happens several times during the night as I spend a lot of time explaining the entrapment of a video drawing that requires a lot of intellectual capital to fully understand. This piece has already been successful beyond my wildest estimations; I am almost afraid that someone will punch me out at some point during this art fair, seeing exactly what they want to see, rather what they would see with a little guidance.

Around 8:00PM I sell my largest drawing, the first sale of the night for MFA. It's from the series of pieces on Eve. It goes to a Miami Beach collector. Almost at the same time MFA sells a gorgeous Michael Fitts trompe l'oeil of Twinkies. As usual, the two sales come almost at the same time.

Someone comes in from Scope next door, complaining that they have plywood floors; we have a brand new black carpet, and our booth's carpet looks like a litter field. Interesting what people will complain about. Someone else adds that Scope is empty of people. An hour earlier I had heard that it was packed. You go figure.

One more sale later and the night is over; somehow the interior designer is back and has Giolitti back under her domain, even outside the fair. I'm exhausted and my wife picks me up and drives me back to Hollywood. Preview day is over.

Opportunity for Photographers

Deadline: December 17, 2010

Call for entries for the Fifth Annual Photography Exhibition at the Capitol Hill Arts Workshop. Entries must be received by December 17, 2010. The Capitol Hill Arts Workshop is seeking submissions of any and all photographic processes, black and white or color, traditional or alternative, material or digital, time-based, performance based, any work exploring the act of photography. The exhibition will open on January 8, 2011 from 5:00-7:00 p.m. and will run through February 4, 2011. Cash awards will be announced at the opening.

The juror for the exhibition is Bruce McKaig, local artist and art educator. Bruce McKaig chairs the Photography Department at CHAW and teaches at Georgetown University and the Smithsonian Associates. He has exhibited nationally and internationally for over thirty years and every once in a while reviews a DMV show in this blog. For more information about his work, please visit his website here.

HOW: Submit the following:
➢ Three to five jpegs on a CD
➢ Image inventory list specifying title, size, medium, date and price (or insurance value)
➢ Contact info including a mailing address, phone number and email
➢ An entry fee of $25.00 for up to five images, payable to CHAW

WHERE: Please hand deliver or mail these materials to:

CHAW
545 7th Street SE
Washington DC 20003

Art Basel MB week: The day before Day One

I arrived here last Saturday, hanging out at Hollywood, less that 20 miles north of the Wynwood Arts district in Miami, where I'm helping Norfolk's Meyer Fine Art and Philly's Projects Gallery hawk some of my artwork at the Red Dot Art fair, which this year shares the block with Scope, Art Asia and the grand daddy of all Miami art fairs, Art Miami.

First night headed to my favorite restaurant on the Hollywood Beach boardwalk, the unexpectedly delicious Sushi-Thai Restaurant, where for $7.95 you can have the mouth-watering Ika Shukgata Yaki (whole grilled squid in ponzu sauce) and a cold one while looking out at the ocean.

Today I drove to Wynwood and from 11am until 7pm it was all about hanging artwork at MFA's booth. MFA is showing work by yours truly, as well as Cuban artist Sandra Ramos, Norfolk's John R. G. Roth, Robert Sites, and Shiela Giolitti, Lynnvale's Lou Gagnon, Charlottesville's Michael Fitts, Prague's Alexey Terenin, and DMV's Joey Manlapaz, Rosemary Feit Covey Andrew Wodzianski and Judith Peck.

I'm stoked about this fair because it will be the first ever showing of my first video drawing.

I had an interesting experience upon checking in, during which somehow I ended up checking in and getting badged (by mistake) into Scope, which is the big tent next to Red Dot, but more on that later.

The grand opening is tomorrow night.

Small works at MEG

Recently I had the pleasure and honor to select the current small photographic works at Multiple Exposures Gallery in Alexandria.

It's wonderful show, if I may say so, and continues this trend that I've been writing about recently, about the unique experience of artwork in a small, intimate scale.

MEG is home to superior, highly talented photographers. In the many years that this photography collective has been around (formerly known as Factory Photoworks), and in the dozens and dozens of shows that I have seen there, seldom, if ever have I seen a weak show. If you are a photography fan and you haven't been to MEG, then you're missing one of the key photography spaces in the Mid Atlantic.

Every selection in this show is a gem. In Susan Meyer's "Apple in a Vase," the sheer simplicity of the image hides the smart compositional idea behind it. The super sharp focus of the photo also does wonders to bring our attention to the subject, and (as I did) speculate why there's an apple in a flower vase.

I was also quite pleased not only with the superior set of works submitted by Michael Borek, but also with the super-modern, sharp minimalist presentation, where Borek has the small works floating in a deep white frame. I might "borrow" his presentation concept for some future works of my own!

There's also the scent of a master photographer in Grace Taylor's "Three Red Pears." Here we see what can be best described as the subject emerging not only because of its inherent beauty and recognition-factor, but also because the way the Taylor handles it, massages it and presents it; the pears emerge as exotic, sexual fruits, awaiting the first touch of the lips and the first cut of the bite.

Luise Noakes' visually textured, added onto and manipulated photos as well as the always impressive work of Danny Conant also stand out.

The Small Works show goes through January 2, 2011.

Some further considerations on the paintings of Freya Grand

By Claudia Rousseau

An exhibit entitled “Journey” of the paintings of Freya Grand was on view at the Greater Reston Art Center (GRACE) until November 12th. I had made the pilgrimage out there to see the show (and it did seem a pilgrimage from my home in Colesville, MD), and meant to write a review while the show was still up. Swamped with other work, I didn’t make it. Yet, I feel that some thoughts about this remarkable artist are in order, even now that the show has closed.

The first word that comes to mind looking at these paintings as a group might be “sublime”. When thinking about that rather slippery concept as applied to art, one might be imagining something by Turner or Caspar David Friedrich, artists who did try to embody eighteenth-century writer Edmund Burke’s aesthetic notion in actual works of art. The sublime is a feeling that involves an element of fear, something beyond the merely beautiful or picturesque precisely because of that fact. It is something that we experience in nature, as at the edge of the ocean at night when we look out at the horizon, and feel simultaneously exhilarated and overwhelmed at the greatness of what is in front of us—part of that huge sky and water—knowing full well that it would be death to move into it. The experience can occur in art as well, and this was, of course, at the core of Romanticism.

I think the most moving thing about Freya’s paintings is the way that they so completely convey this sense, and the feeling that one is experiencing what the artist experienced confronting the natural scenes represented in these large scale paintings. These are not realistic works, and, although descriptive, do not reproduce the visual record so much as the experiential one. It’s that sense that we are there with her, viewing the volcano Cotopaxi, as thrilled as Frederic Church (Freya’s art great grandfather) had been more than a century ago. Or seeing/feeling the tides pulling out at the water’s edge in Beach. Because these paintings are so full of experience, they provoke memories in the viewer of his/her own moments of the sublime. They rushed in on me as I looked, and kept me looking, and thinking for a long time.

Claudia Rousseau
Critic, member AICA

WPA 2011 Artist Directory

Deadline: February 1, 2011

The Washington Project for the Arts has announced a call for submissions for its 2011 Artist Directory.

Published bi-annually, this four-color, 8.5 x 5.5 inch directory is the definitive listing of established and emerging contemporary artists throughout the Washington region. It is seen by more than 2,000 galleries, curators, art consultants, and interested art patrons. Copies are distributed to selected art critics and other members of the press, and to museums both in the region and outside the area. The 2011 Artist Directory will also be available for sale on the WPA website and at select area retail locations at the price of $9.95.

Each participating artist will be featured on a full page (8.5 x 5.5 inches). The page will include the artist's name, a color digital image of their work, their studio address and phone number, email address, web address, and their gallery affiliation.

All current WPA members are eligible for publication in the Artist Directory. There is an additional registration fee that includes a copy of the Artist Directory. Participants who submit before December 1, 2010 can pay a discounted early registration fee of $65. After December 1, the registration fee increases to $75. The final registration deadline is February 1, 2011. No submissions will be accepted after this date.

All submissions will be handled through an online registration form on the WPA's website.

Each participating artist can upload one image to be featured on their page. Images must be submitted as .eps or .tif files in CMYK format. They must be 300dpi and as close as possible to, but no smaller than 6 inches on the longest side.

If you have any questions regarding the 2011 Artist Directory, please contact Blair Murphy, Membership Directory at bmurphy@wpadc.org or 202-234-7103 x 1.

Guess who's walking?



It's official: the little guy is walking!

Last one before Miami

On Wednesday night I attacked a 200 lb. large piece of paper with charcoal pencil and charcoal dust and, inspired by the elegant Incantation of Frida K. by Rita Braverman, I produced a large drawing - the last one which will be leaving for the Miami Art Basel week art fairs this coming Sunday.

The Incantation of Frida K. Charcoal on paper. 16.5 x 40 inches.
Five gets you ten that this drawing will be the first one to sell.

Leaving for Miami on Saturday. I have passes for almost all of the 25 or so fairs in Miami; if you'd like one, drop me an email - first come, first served. Most fairs have the grand opening on Tuesday, Nov. 30, and I even have a few VIP passes to the grand openings, which obviously I won't be able to go since I will be hanging around my work at booth B108 at Red Dot with Mayer Fine Art and/or Projects Gallery at C108, both of which will have some of my work.

See ya there!

Happy Thanksgiving

I hope that all of you have the luck to spend today with your families (like I am) and that we all send a positive thought for all those who can't, especially our men and women in uniform around the world.

Below is how pumpkin pies are made, source unknown, but clever!

Video meet Drawing: Final Result

As I noted before, as the next step in my own artistic endeavors, I've decided to marry video to my drawings. In my heart, I am but a storyteller, and thus this marriage, of visual descriptions of all sorts, is a natural one.

And where else to start but with one of my iconic obsessions: Che Guevara. Below is what the drawing originally looked like:


Then, after discussing all sorts of possibilities with the video tech wizards at the Washington Glass School, I took the Exacto knife to the drawing and carved a "Heart of Jesus" shape underneath Che's neck. The thorns around the heart delicately cut out. Next was the precise measuring to ensure that the small LCD video screen (guaranteed for 60,000 hours) would align and fit perfectly under the cut out heart.

Next to hunt for old newsreels of Guevara and appropriate one of them that would fit well in the vertical LCD screen and deliver a good image across the thorns. My idea was to try to deliver the dual nature of Guevara. That is the iconic face and hero to millions of people who know little about this psychopath, and also deliver a harsh reminder about the chief executioner of the Cuban Revolution and the man many Cubans know as "El Chacal de La Cabaña."

"El Chacal de La Cabaña" translates to the "Jackal of La Cabaña," although it is usually translated as the "Butcher of La Cabaña."

La Cabaña is an 18th century fortress complex located on the elevated eastern side of the harbor entrance to Havana, and the location for many of the thousands of firing squad executions which took place after January 1, 1959. Shot were former members of Batista's police, army and air force, informants, traitors, and counter-revolutionaries.

The best known story about this period (which I heard related in a Spanish language radio show in Florida) relates to how a Cuban mother went to see Che to beg for her son's life. The son was 17 years old, and was on the firing squad list, to be executed within a week. If Guevara pardoned her son, the mother begged, she would ensure that he never said or did anything against the Revolution.

Che's response was to order the immediate execution of the boy, while the mother was still in his office. His logic: now that the boy was shot, his mother would no longer have to anguish over his fate.

Two newsreel videos were then married: it starts with Che talking and it ends with the firing squad execution of one of his many victims. The gruesome scene plays in his heart. This is what the cut out hart looks like with the video screen aligned behind it.



Then the delicate art of framing the piece and aligning all the electronics on the back ($1,000 worth of electronics). This happened several times due to the usual hair or other object discovered after one frames a large piece. Once framed it looked terrific.

"It needs to be balanced on the top," offered several critical voices from talented people around me, including my wife. The loudest voice was the one in my head. I had considered doing some Romanesque writing on the top of the drawing at the very beginning, to tie it even more to a iconic, saint-like presence, but discarded the idea.

I wrapped Che and prepared it for it maiden voyage to the Miami art fairs.

The next day the voices were too loud.

I unwrapped Guevara and then with a sigh unframed it and took it all apart so that I could draw on it. This is about halfway through the process, before I took a tortillon to the words to burnish them into the paper.



The words say SANCTUS GUEVARUS CASTRUM CANIS and are the result of hours of thinking about an appropriate title that delivered the real man who was Che Guevara. It is also the result of consulting with a Latin expert who could explain the nuances of Latin language declension and other such recondite subjects. With a bit of modernized translation it means "Saint (or Holy) Guevara, Castro's Dog." But a savvy play on words delivers a second (actually prime) meaning: "Holy Guevara, Fortress Dog."

The word "Castrum" could be modernized Latin for Castro but it also means castle or fortress.

"Fortress Dog" or the "Jackal of La Cabaña Fortress." Here's the video playing in his heart:


Here is the video - the orientation is sideways so that it can play correctly in the installation within the drawing.

And here is the finished piece:


SANCTUS GUEVARUS CASTRUM CANIS. Charcoal on paper, electronics, video player and video. 27.5 x 27 inches. Circa 2010 by F. Lennox Campello
Now let's see what Miami thinks of it.

Call for Exhibition Proposals

Deadline: January 31, 2011

The Olin Art Gallery on the campus of Washington & Jefferson College, Washington, PA, is now accepting exhibition proposals in any medium for the 2011-12 academic year. Proposals may include solo or group exhibitions. Submissions must include contact information, artist statements for all participating artists, 10-20 digital images (jpg-format, 300dpi) on CD, an image list (including title, media, size, and date completed for each work), and a resume or CV. There is NO entry fee. The application deadline is January 31, 2011. For additional information, contact

Doug McGlumphy
Director, Olin Art Gallery
Washington & Jefferson College
60 S. Lincoln St.
Washington, Pa 15301.

Website: www.washjeff.edu/olin/aspx.
Email: dmcglumphy@washjeff.edu.

Proposal materials will only be returned if provided with a self-address stamped envelope with sufficient postage. This opportunity is open to all professional artists 18 or over.