Wanna buy an original 1990s Campello watercolor on eBay?
Starting bid is less than $10 bucks! Heck of a deal!
Weird how artwork seems to show up on EBay once in a while.... Check it out here
Since 2003... the 11th highest ranked art blog on the planet! And with over SEVEN million visitors, F. Lennox Campello's art news, information, gallery openings, commentary, criticism, happenings, opportunities, and everything associated with the global visual arts scene with a special focus on the Greater Washington, DC area.
WPA is extremely proud and grateful to be the recipient of the 2014 Mayor's Arts Award for Excellence in Service to the Arts. The Mayors Arts Awards are the highest honor conferred by the District of Columbia for artistic excellence and service among artists, arts organizations, and arts patrons.
Our members and participating artists share equally in this award for ensuring our programming is of the highest caliber. Thanks to all of our supporters and patrons for allowing us to do what we do. And thank you to all of our artists for continuing to experiment and explore and create. You all make this city, this community, this world a better place for your efforts.Many thanks to the DC Commission the Arts & Humanities, Mayor Vincent Gray, the DC City Council, the enlightened and distinguished jury who selected us, and our fellow finalists and nominees who continue to set the bar so very high for the arts in DC.
CONTEXT continues its success by expanding and redesigning the fair. Seventy-eight international galleries from 20 countries, with more than 460 artists from 43 countries have been carefully chosen by the selection committee consisting of Ethan Cohen, Enrique Guerrero, Alberto Magnan & Dara Metz and Leigh Conner & Jamie Smith, led by new fair director Julian Navarro, to bring Miami Art Week (Dec 2-7 2014) the most promising cutting-edge, mid-career and established artists.CONTEXT is dedicated to the development and reinforcement of emerging and mid-career artists. Launched in 2012, CONTEXT's open atmosphere creates a meaningful dialogue between artists, galleries and collectors while providing the ultimate platform for the presentation of cutting-edge talent by emerging and established galleries. The combined efforts of CONTEXT and Art Miami provide a unique and alternative opportunity for leading primary dealers and their artists to be marketed and promoted internationally during the most important week for contemporary art in America.In addition to its group of international galleries, CONTEXT will feature a series of solo artist projects, curated spaces, special projects, conversations and events.Special Projects HighlightsThe Director's Project "CONTEXT-ing / Listening as CONTEXT", creates immersive and intimate situations for listening to the work of sound artists exploring the ontological aspects of sound while also working with various materials, approaches, and techniques. CONTEXT-ing / Listening as CONTEXT will be premiered on the VIP opening night in the 2600sq. ft Sound Positions Pavilion - a dedicated space annexed to the main CONTEXT pavilion featuring 12 individual sound stations, making it the most important and largest sound project in an art fair - and continues during fair hours from December 3rd - 7th. Artists include: Tania Candiani, Mexico; Richard Chartier, USA; Richard Garet, Uruguay / USA; France Jobin, Canada; Emeka Ogboh, Nigeria; Kristin Oppenheim, USA; Manuel Rocha, Mexico; Steve Roden, USA; Hong-Kai Wang, Taiwan; Hildegard Westerkamp, Germany / Canada; Jana Winderen, Norway; Zimoun, Switzerland.ART FROM BERLIN offers insight into Berlin's influential art scene with six contemporary galleries selected by a panel of Berlin based curators and art critics. In the BERLIN LOUNGE, lvbg will install a curated exhibition and offer information on the city's contemporary art galleries and institutions. This microcosm of the global art capital's gallery community includes a cross-section of established and emerging exhibitors. ART FROM BERLIN is presented at CONTEXT by the Galleries Association of Berlin (lvbg), with official support from the municipality of Berlin and the European Union (EU).CONTEXT-NEXT. "A Piece of Me" features visual arts students from the high school honors class of Miami's renowned New World School of the Arts collaborating to produce site-specific installations in response to a significant artwork by an acclaimed alumnus from their school, Hernan Bas: a video in the collection of the Museum of Modern Art, "All By Myself" (2004, single-channel video, courtesy of the artist and Frederic Snitzer Gallery). The young collaborators will work in the antithetical medium of paper, and the results exhibited with the video by their predecessor, Hernan Bas. "A Piece of Me" is a Wet Heat Project in association with New World School of the Arts, Visual Arts Program.CONTEXT has partnered with Miami Light Project for the highly anticipated Opening Night VIP Preview. Latin Grammy Nominated artist/producer Mr. Pauer will perform an exclusive selection of his signature sound Electrópico™ filled with live percussion and an array of guest singers turning the night into a memorable experience. Miami Light Project will stage a selection of performances that will take place in the CONTEXT Outdoor Garden Lounge daily during General Fair Days between 3PM - 7PM. These music programs are all free in the CONTEXT Outdoor Garden Lounge.CONTEXT and its sister art fair Art Miami, the original and longest-running art fair in Miami, celebrating its 25th year, will both feature exceptional artworks exhibited in highly visible areas of the pavilion - inside and outside the main entrances of the fairs, the Maserati VIP Lounge at Art Miami, and the VIP Lounge at CONTEXT, amongst others. All works will be selected by LaRete Art Projects curators Julia Draganović, Elena Forin and Claudia Löffelholz.
2014 CONTEXT Exhibitor List
532 Gallery Thomas Jaeckel, New York
Accola Griefen, New York City
Alida Anderson Art Projects, Washington, DC
Amstel Gallery, AMSTERDAM, New York
Amy Li Gallery, Beijing
Andrea Schwartz Gallery, San Francisco
Anna Kustera, New York
Arch Gallery, Miami
Bankrobber, London
Beatriz Esguerra Art, Bogota
Beatriz Gil Galeria, Caracas
BERLIN LOUNGE by lvbg, Berlin
Bernarducci Meisel Gallery, New York
BLANK SPACE, New York
Bluetomato Gallery, London
Caldwell Snyder Gallery, San Francisco
Camara Oscura Galeria de Arte, Madrid
Coagula Curatorial, Los AngelesConverge Gallery, WilliamsportCurator's Office, BethesdaDa Xiang Art Space, TaichungDenise Bibro Fine Art, New YorkEduardo Secci Contemporary,
Florence, PietrasantaEmmanuel Fremin Gallery, New YorkEthan Cohen, New YorkFabien Castanier Gallery, Culver CityFrederic Got, ParisGaleria Alfredo Ginocchio, Mexico CityGaleria Athena Contemporânea, Rio de JaneiroGaleria Casa Cuadrada, BogotaGaleria Enrique Guerrero, Mexico Citygalerie bruno massa, ParisGalerie Friedmann-Hahn, BerlinGalerie Kornfeld, BerlinObrist Galerie, Essen, DüsseldorfGalerie Robert Drees, HannoverGalleria Doris Ghetta, OrtiseiGallery Henoch, New York City Grundemark Nilsson Gallery - Swedish
Photography, Berlin, Stockholm
JanKossen Gallery, Basel, New YorkJJ Joong Jung Gallery, SeoulJoerg Heitsch Gallery, Munich
Jonathan LeVine Gallery, New York
K Imperial Fine Art, San Francisco
Kavachnina Contemporary, Miami
Kim Foster Gallery, New York City
Klein Sun Gallery, New York
LÄKEMÄKER, Berlin
Licht Feld, Basel
Lyle O. Reitzel Gallery, Santo Domingo
Magnan Metz Gallery, New York
Matilde Bensignor, Buenos Aires
Metroquadro, Rivoli
Olga Korper Gallery, Toronto
OPIOM Gallery, Opio
Patricia Conde Galería, Mexico City
PENTIMENTI GALLERY, Philadelphia
Pictura Gallery, Bloomington
Robert Fontaine Gallery, Miami
Samuel Owen Gallery, Greenwich
Sasha D. Espacio de Arte, Córdoba
Set Espai D'Art, Valencia, Jávea
Shine Artists, London
Shirin Gallery NY, New York
Sim Smith Gallery, London
Sous Les Etoiles Gallery, New York
Susan Eley Fine Art, New York
Tammen & Partner, Berlin
ten472 Contemporary Art, Nevada City
Tezukayama Gallery, Osaka
The McLoughlin Gallery, San Francisco
Vimm Gallery, Prague
VisionQuesT contemporary photography, Genova
Vohn Gallery, New York
WHITE ROOM | Liquid art system, Capri, Positano
Wichtendahl Galerie, Berlin
Witzenhausen Gallery, AmsterdamHours and LocationFAIR HOURS
VIP Preview
Tuesday, December 2 | 5:30pm - 10:00pm
Access for VIP Cardholders and Accredited Press
to benefit: the Pérez Art Museum Miami (PAMM) and Miami Light Project.
GENERAL ADMISSION
Wednesday, December 3 through
Saturday, December 6 | 11am - 8pm
Sunday, December 7 | 11am-6pm
Arts Integration and Special Education contributes to research, policy, and practice by providing a theory of action for studying how linguistic, cognitive, and affective student engagement relates to arts integrated learning contexts and how these dimensions of engagement influence content area and literacy learning.Arts Integration and Special Education connects the interdisciplinary framework in human development and linguistics, special education, and urban education with primary action research by special educators trained in arts integration, working in an inclusive urban charter school with middle school age students. Upper elementary to middle-grade level student learning is relatively understudied and this work contributes across fields of special education and urban education, as well as arts education. Moreover, the classrooms in which the action research occurs are comprised of students with a diverse range of abilities and needs. The book’s interdisciplinary model, which draws on developmental and educational psychology, special education, and speech/language pathology research and practice, is the first to posit explanations for how and why AI contexts facilitate learning in students with language and sensory processing disorders, and those at-risk for school failure due to low socioeconomic status conditions.
Continuing on its long tradition of collecting artworks that depict life in Washington, the Historical Society partnered with the DC Preservation League to develop its list of Most Endangered Places. That list will provide local artists with the subjects for art and photo submissions to a juried contest. The Capitol Hill Art League is helping guide the competition process.
My post on the subject of the unfortunate theft of Afrika Midnight Asha Abney’s work from a restaurant show, and the subsequent issue of who (if anyone) pays for the loss, and my mention of why it is important to have contracts when forming a business association with a gallery or dealer - or any exhibition venue, for that matter – brought an unexpected deluge of emails from artists (and one gallerist) asking why a contract is such a big deal.
Let me give you some examples:
1. Take Afrika’s case: An artist has a show and someone steals a piece of art. What happens next? With a signed contract, the artist would know ahead of time that either (a) the gallery has no insurance, in which case the theft is a full loss, or (b), the gallery has art insurance, in which case (a) the gallery puts a claim in with the insurance company, or (c) the artist deals directly with the insurance company. And, by the way, in the event that there’s insurance, don’t expect to get the full value of the stolen work, but in most cases (and policies) only the 50% commission that you’d have received in the event that the work had sold instead of being stolen.
2. Talking about commissions; how do you know, other than a handshake, what the gallery’s commission is? Let’s say that you are told that the commission is 50% (the general standard for independent commercial fine arts galleries around here). Is that 50% of the price of the piece or 50% of the final sales price? I know of at least one major DC area art gallery that has a record of really screwing artists by giving them 50% of an agreed price for a piece; however, the gallery also often sells the piece for a lot more money to its out of town collectors and keeps the difference. Here’s how it works. The artist agrees to sell the photographs for $500 each and thus expects a commission of $250. The unethical gallerist sells some for $500, and some to its out-of-town clientele for $1000, but gives the artist the same $250 commission on those sales.
3. But let’s say that you have approached a gallery, and show them the works, and discuss representation, and the gallerist agrees to hang some of your work in his next group show. You are not sure if you are “represented” in the sense of the word as you understand it, but shake on it and prepare for your first appearance in a well-known gallery and invite all of your family and friends. At the packed opening, your second cousin-once-removed is admiring one of your huge watercolors, which are tacked onto the wall in a really cool post-post-post-modernist style. He leans forward to admire your brushwork and accidentally spills his white wine onto your watercolor, immediately making your representational work of art into a messy abstraction. What happens next? Does insurance cover damage? Is there insurance? Is that the guy who spilled the wine making a dash for the door?
4. Having learned your lesson, at your next opening you resign yourself to getting your new work framed and spend a ton of money getting them framed at the most affordable (in other words cheapest) possible way, but still spend a considerable amount of shekels -- because as everyone knows, framing is very expensive (unless you attend the Boot Camp for Artists Seminar and learn how to cut framing expenses by 80%). When you deliver the works to the gallery, the gallerist goes into fits about your gold leaf rococo frames from Target and silver acidic mats and refuses to hang the work. A good contract would have specified ahead of time all issues dealing with framing and presentation standards.
5. Having calmed down, the gallerist then offers to re-frame all the work for you. You accept with a sigh of relief, and at the opening your 20 newly framed watercolors look great in the 8-ply pH-balanced, acid free mat board, under UV glass and Nielsen mouldings and backed by half-inch, acid free, pH-balanced foam core. You sell four pieces and are happy that things worked out in the end. A few weeks later you get a huge bill in the mail from the gallery; it is what remains of the framing bill after the gallery applied all of your commission to the total framing bill. A good contract should also specify the economic who’s and what’s of any framing done by the gallery.
6. Your relationship with the gallery is now seriously on the rocks, but then you are told that a review in Art News will come out soon. Three months after your show has closed the review finally comes out in Art News and it’s a good one. A young computer geek in Bala Cynwood, Pennsylvania, who is waiting to see his doctor for his annual physical reads that Art News review while waiting in the doc’s office, sees the nice reproduction of your work and after he goes home, looks you up on the Internet and contacts you directly and tells you that he read the review of your gallery show in Art News and wants to buy the painting reproduced in the magazine. You sell him the painting and put all your money in the bank. Sixteen minutes after the painting is delivered to Bala Cynwood, the gallery gets a call from a collector in Spokane, Washington who has also read the Art News review and wants to buy that painting. The gallerist calls you and tells you the good news. You are ecstatic that two people want your painting, but then you tell the gallerist that someone else in Bala Cynwood read the review and that you sold the painting to that person. The gallerist congratulates you on the sale and then asks you to make sure that you send him the gallery’s commission. You are confused because you had no idea that you owed the gallery a commission.
7. Your review in Art News has opened a few doors for your artwork and you are invited by a non-profit art venue to have a solo show at their space in a year. You are pleased and tell everyone, including the gallerist, who informs you that because his gallery represents your work, you are not allowed to exhibit anywhere else in the city, or maybe the area, or maybe the state, or maybe the US, or maybe the world.
8. Then your Alma Matter, impressed with your artistic prowess, invites you to a group show of alumni artwork in the school’s gallery. Since you attended art school in another state, you are pretty sure that it will be OK to show there, because after the last confusion, you discovered that the gallery had exclusive representation for your work only in DC, MD and VA, and your art school is in Brownsville, Texas. You tell your gallerist, and because he has never heard of Brownsville, Texas, he looks it up in the Internet and then he informs you that if you exhibit your artwork in “certain places” it will bring the reputation of the gallery down and thus the gallerist doesn’t want you to exhibit in Brownsville, Texas – or anywhere in Texas, Arkansas and Nebraska for that matter.
9. You beg and plead because you really want to impress your ex-girlfriend in Texas, and the gallerist allows you to include one piece in that alumni show, but makes it clear that he needs to be consulted on any and all exhibitions of your work. And so you exhibit your best piece in Brownsville and a New York gallerist, who happens to be a Robert Ervin Howard admirer, visits Brownsville to pay homage to REH's birthplace and decides to check the local yokels show at the art school. Because your immense watercolors are the largest works in the show, they catch his attention and he jots down your name. Weeks later his intern calls you and tells you that they want to show some of your work in their next group show. This is really hitting the big time, and you announce to your gallerist that a big shot New York gallerist is including you in his next group show. He congratulates you and reminds you that you owe him 10% of any sales made in New York, or in Brownsville, Texas, or anywhere for that matter. You rant and rave and ask why, and he tells you that the reasons for your recent success all lead back to the exposure that he has given you. You demand to know why none of this stuff was made clear from the beginning. The gallerist answers that “everyone knows this,” and that he “likes to operate on a handshake and without a contract.” You then realize that you have him by the balls, since you have no signed contract with him or his gallery, and tell him that you are leaving. He says some threatening stuff about verbal contracts, but you walk away anyway, wondering how you are going to get back the six paintings of yours that your soon-to-be-former gallerist still has in storage.
10. Nonetheless, New York is New York, and you go visit the big shot New York gallerist and meet with him, and over a handshake he agrees to put you in a group show and tells you that his commission is 60% - You are not sure if you are “represented” in the sense of the word as you understand it, but shake on it and prepare for your first appearance in a New York City gallery and invite all of your family and friends...
Name | Ward | Award Amount |
Andrene Taylor | 5 | $8,000 |
Christylez Bacon | 1 | $10,000 |
Cory Oberndorfer | 3 | $7,000 |
Daniel Singh | 4 | $8,000 |
Denaise Seals | 4 | $4,050 |
Dwayne Lawson-Brown | 8 | $7,350 |
Edward Daniels | 1 | $8,000 |
Holly Bass | 1 | $10,000 |
Jack Gordon | 5 | $7,200 |
John Johnson | 8 | $7,000 |
Joy Jones | 5 | $6,850 |
Kim Roberts | 1 | $4,000 |
Maud Arnold | 3 | $10,000 |
Mia Choumenkovitch | 2 | $10,000 |
Monica Bose | 1 | $10,000 |
Regie Cabico | 1 | $5,600 |
Rex Weil | 3 | $8,000 |
Robert Bettmann | 4 | $5,950 |
Ruth Stenstrom | 1 | $10,000 |
Sandra Johnson | 5 | $8,000 |
Shawn Short | 7 | $7,500 |
Stanice Anderson | 8 | $4,500 |
Stephen Spotswood | 6 | $8,000 |
Will Stephens | 2 | $10,000 |
Name | Ward | Award Amount |
Adam Davies | 3 | $10,000 |
Allison Stockman | 2 | $7,500 |
Anna Davis | 4 | $7,500 |
Anne Bouie | 1 | $5,000 |
Assane Konte | 5 | $3,800 |
Carmen Torruella-Quander | 5 | $5,000 |
Cecilia Cackley | 6 | $5,000 |
Cheryl Edwards | 6 | $5,000 |
Chloe Arnold | 3 | $5,100 |
Christopher Dolan | 3 | $7,500 |
Christylez Bacon | 1 | $7,500 |
Cory Oberndorfer | 3 | $5,000 |
Dana Flor | 3 | $7,500 |
Daniel Singh | 4 | $6,500 |
Daniel Vera | 5 | $7,500 |
Danielle Mohlman | 6 | $10,000 |
Davey Yarborough | 4 | $5,000 |
Dawne Langford | 1 | $7,500 |
Edmund Baker | 1 | $5,000 |
Elizabeth Acevedo | 6 | $10,000 |
Ellington Robinson | 1 | $7,500 |
Emiliano Ruprah | 4 | $5,000 |
Evangeline Montgomery | 4 | $7,500 |
Farah Harris | 6 | $10,000 |
Fawna Xiao | 6 | $5,000 |
Frederic Yonnet | 6 | $10,000 |
Gediyon Kifle | 2 | $7,500 |
Holly Bass | 1 | $6,500 |
Ian Jehle | 1 | $5,000 |
James Byers | 7 | $5,000 |
Jane Remick | 1 | $7,500 |
Jared Davis | 4 | $10,000 |
Jarvis Grant | 1 | $5,000 |
Jennifer Clements | 3 | $7,000 |
Jennifer Nelson | 5 | $10,000 |
Jessica Beels | 1 | $10,000 |
John Copenhaver | 6 | $7,500 |
Jonathan Monaghan | 5 | $10,000 |
Joyce Wellman | 1 | $5,000 |
Joyce Winslow | 3 | $9,000 |
Juan Mayer | 2 | $5,000 |
Kathryn McDonnell | 3 | $5,000 |
Kea Taylor | 1 | $5,000 |
Khanh Le | 5 | $7,500 |
Kim Roberts | 1 | $7,000 |
Lance Kramer | 1 | $5,000 |
Laura Zam | 1 | $10,000 |
Linn Meyers | 4 | $10,000 |
Lynn Welters | 4 | $3,800 |
Margot Greenlee | 6 | $6,500 |
Marion (Rik) Freeman | 7 | $10,000 |
Marjuan Canady | 4 | $5,000 |
Marta Perez Garcia | 5 | $5,000 |
Martine Workman | 6 | $10,000 |
Mary Early | 6 | $7,500 |
Mary Hanley | 4 | $5,000 |
Mary Kay Zuravleff | 3 | $9,000 |
Maryam Foye | 7 | $10,000 |
Maureen Andary | 4 | $5,000 |
Michael Janis | 5 | $10,000 |
Michael Sirvet | 2 | $10,000 |
Mickey Terry | 7 | $7,500 |
Mike Osborne | 3 | $10,000 |
Molly Springfield | 1 | $10,000 |
Monica Bose | 1 | $5,100 |
Nathaniel Lewis | 1 | $5,000 |
Nekisha Durrett | 4 | $10,000 |
Nicole Lee | 2 | $9,000 |
Niki Herd | 4 | $5,000 |
Noah Getz | 3 | $10,000 |
Paul Gordon Emerson | 1 | $5,100 |
Rachel Grossman | 4 | $10,000 |
Rachel Kerwin | 5 | $5,000 |
Rachel Louise Snyder | 3 | $5,000 |
Rania Hassan | 5 | $5,000 |
Regie Cabico | 1 | $10,000 |
Rex Weil | 3 | $5,000 |
Richard Cytowic | 4 | $10,000 |
Samuel Miranda | 4 | $5,000 |
Sara Curtin | 1 | $5,000 |
Sarah Browning | 3 | $9,000 |
Sarah Ewing | 6 | $3,800 |
Shahin Shikhaliyev | 3 | $5,000 |
Sondra Arkin | 2 | $5,000 |
Tamela Aldridge | 4 | $5,000 |
Tatyana Safronova | 3 | $5,000 |
Taurus Broadhurst | 5 | $3,800 |
Tessa Moran | 6 | $10,000 |
Thomas Beveridge | 3 | $5,000 |
Thomas Colohan | 1 | $10,000 |
Tim Tate | 2 | $10,000 |
Timothy Johnson | 2 | $7,500 |