Art advice for the White House tenants

Life has an interesting way of forcing us to sometimes either reversing what we once thought were final positions, and other times life offers us a chance of defending both sides of a position.

I have been generally against the segregation of artists by race (black, white, Asian or native American) or by ethnicity (Hispanic, Semitic, etc.), and yet sometimes a void or need is so egregious that the solution is very clear and may cross lines that we may have thought as cast in concrete.

When we all discovered a couple of years ago that 66% of all the artwork by black American artists currently in the White House art collection had been acquired by the Bushes, depending on what side of the political aisle you stand, this fact may either raise an eyebrow from right wing nuts or some sort of conspiracy theory from left wing nuts.

But when we also discovered the fact that only three works (out of an estimated 375 pieces) were by black Americans, both sides of the aisle should find that surprising... and maybe in need of attention by the Obamas.

A little recap and an update: In 2007 I reacted in my usual self-righteous, irate manner to having American artist Jacob Lawrence described as a great African-American artist, rather than just a great artist. And then the Washington City Paper in the process of policing that whole issue, came up with an interesting fact.

Jacob Lawrence, pen and ink, circa 1980 by F. Lennox Campello
In an Private Collection
According to the City Paper, Betty Monkman, the curator of the White House, revealed 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 President 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 off the first century and a half of the White House's art acquisition process. During that time we can safely assume that they probably just focused on American artists from one of the four races, and somewhat let me reverse my stand on segregating artists by race, rather than just artistic merit, and let me take the uncomfortable side of trying to again ask the question, "Why aren't there more works by black artists in the White House art collection?"

Even if one ignores skin color, and just looks at the art and artistic achievement, there are plenty of great American artists, who happen to be black, whom I think would make a great update to 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 of all ethnicities - after all, all four races of mankind create art and all four and their many mixtures, live in America.

Back in the 1980's, Jacob Lawrence was awarded the National Medal of Arts from President 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?

The City Paper research identified the other two paintings: "Henry Ossawa Tanner’s Sand Dunes at Sunset, Atlantic City (1885), which hangs in the Green Room, its home since 1996, and an 1892 painting by one “Bannister” (possibly Ed Bannister) acquired in 2006 and which was then 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 Jacob Lawrence, Romare Bearden, Sam Gilliam, Martin Puryear, Alma Thomas, and others are all just great American artists, period, and have even broken the National Gallery of Art code, and should all probably have been acquired by the White House years, and years, and years ago.

Makes my head hurt.

And let's agree, as Jonathan Melber notes in the HuffPost, that the White House's collection is not exactly, ah... contemporary.

But let's say that a traditional acquisition focus on painting were to remain, and thus we would immediately unfortunately eliminate a lot of good contemporary choices. After all, the White House is not an art museum, and the case could be made that it sort of "feels" that it should be an art collection where all things somewhat say "America" in a variety of traditional visual ways, and I submit that for that goal, painting is still first among equals. That still leaves Romare Bearden, Sam Gilliam, Alma Thomas and others I am sure.

So if the Obamas were to continue what President Bush started, and expand the White House's collection to be more representative of American artists and the American people, I would suggest that (in addition to perhaps more Lawrence), Romare Bearden, Sam Gilliam, Martin Puryear, and Alma Thomas would be a good start.

And, if as Malber suggests, the Obamas should expand the White House collection to more than just paintings, then in addition to some Lawrence collages, I would suggest work by other blue chip artists such as Kara Walker, Maria Magdalena Campos-Pons (who is not only a brilliantly accomplished artist, but also happens to be both Hispanic and Black) and Lorna Simpson.

But I don't know if the Obamas personally collect art, and even though I am one myself, I don't really buy the idea of a staff White House art adviser.

If the Obamas are like most people, they probably don't "really" collect art with a focus or intensity to say, the Podestas in DC or the Rubells in Miami (either one of whom, by the way, would make excellent unpaid volunteer art advisers to the White House, if having an adviser was the choice made to change the visual arts acquisition status quo).

So... since the odds are that they would be beginning collectors, then I would suggest the same thing that I do to all beginning collectors: start looking first at emerging artists, which generally can be acquired for much less money than a well-established artist from the upper crust of the rarified artmosphere. Do this until you establish your tastes, desires and somewhat of a focus, and then, if your financial status allows it, begin expanding into the big museum-level names.

And if the Obamas listen to Malber's excellent point of looking locally (as Clinton did in selecting Simmie Knox to do his Presidential portrait), then I would add one of the terrific works by Rikk Freeman to the White House.

A huge Freeman painting would do wonders for the White House collection and also do wonders for Freeman. Not only would it add a presence and feel to the collection that is missing right now and which is an integral part of American history, but it would also set a new, fresh change of venue of how artwork has been acquired in the past, and the kind of artists that get acquired.

Change.

Dr. Oscar Elias Biscet

Dr. Oscar Elias Biscet Gonzalez is a Cuban physician, imprisoned in Cuba since 2003, for his work for democracy and freedom for that unfortunate island.

“I am of the opinion that as long as a Castro-communist dictatorship exists in Cuba, we, Cubans, will not be able to live in freedom and democracy and that the violations of human rights will continue. I ask the democratic governments of the world and the individuals who love justice and freedom to support the Cuban people and not the government of the island which usurped power, betrayed the people, by sullying them. The conquest of liberty for Cuba is the present priority and will require a struggle that is detailed in its organization and persevering. My steps are headed towards the conquest of that priority. Hear, oh God, my cry, listen to my prayer fulfilling my vows day by day. Free me and free the Cuban people.”

Click on the image for more details...

On the road...

Heading back up North today.

Charity Auction

Habatat Galleries in Tyson's Corner, Virginia is sponsoring a special art auction for charity. Already many prominent artists have donated works of art with 100% of the proceeds going to The Leukemia & Lymphoma Society.
The artists will display their art work for silent bidding in an exhibition titled "Habatat for Healing."

Lindsey Scott, President of Habatat Galleries was nominated by the Leukemia & Lymphoma Society for their Man and Women of the Year contest. Ms. Scott has conceived "Habatat for Healing", a special exhibition and auction of exceptional works of art in support of LLS.

Artists such as Jon Kuhn, Mark T. Smith, Bennett Bean, Tim Tate, Tanija & Graham Carr (Australia) and Petr Hora (Czech Republic) to name a few, have already generously donated art works ranging from the $100s into the $1,000s for this wonderful event.

The exhibition opens on March 5th for display and the start of silent bidding. The exhibition will continue through the evening of April 7th when several key-pieces will be auctioned live and winning silent bids will be announced.

I plan to donate to this charity, and in the event that some of you are interested in donating a work of art for the auction (deadline is end of February), please contact:

Lindsey Scott
8020 Towers Crescent Drive
Tysons Corner (Vienna), VA 22182
703-989-7110
lindsey@habatatgalleries.com

Southerning

I'm down South all this week... y'all keep coming back y'heah.

Opportunity for Photographers

Deadline: March 15, 2009

The FotObamaWeek Photography Contest is a team effort by FotoWeek DC and The Newseum: an international photography contest celebrating the Presidential campaign and the Inauguration of Barack Obama.

- Top 100 winning images, selected by The Newseum's judges, will be exhibited at The Newseum.

- All 100 winning images will be published in a limited edition book sponsored by FotoWeek DC.

- Grand prize winners will be announced at a reception at The Newseum.
Cash prizes totaling $5,000.

- All images submitted will be on display at FotoWeek DC's on-line gallery, along with People's Choice winners.

All except Minnesota absentee ballot voters can vote here.

This museum is hiring

Check it out here.

Artistic Work Force

...there are two million trained, entrepreneurial working artists across the country who are assets to their communities. Representing 1.4 percent of the U.S. labor force, artists constitute a sizeable class of workers -- only slightly smaller than the total number of active-duty and reserve personnel in the U.S. military (2.2 million).

More info here.

Connie Imboden at DCCA

The Delaware Center for the Contemporary Arts current exhibition Reflections, is an exhibition of black-and-white and color photography by Baltimore's own Connie Imboden.

For twenty-five years, Imboden has been photographing nudes, in the process creating some of the most unique interpretations of this traditional subject in the history of contemporary art. The exhibition runs through April 12, 2009.

Tape as Art

He created a makeshift apartment in the parking garage of the Providence Place mall, where he and fellow artists lived off-and-on for more than three years until the stunt was squelched by security guards. He has designed art projects using everything from chain-link fence to snow.

Now he's trying to take his primary artistic love – tape – to the masses.

Townsend, 38, has for 15 years used colorful painter's tape to construct murals and spice up drab walls with quirky images including giant teddy bears and aliens. Now he is working on a book that he hopes will document the history of tape art and encourage schools to incorporate the off-beat medium into their curricula.

Read the AP story about Rhode Island artist Michael Townsend here.

My own favorite tape artist is DC's own Mark Jenkins.

New Art Fair Model?

A group of 20 Old Master paintings dealers are joining forces with Christie’s and Sotheby’s to launch London’s inaugural Master Paintings Week with a series of gallery openings from 4-10 July.

The week coincides with the auctions of Old Master Paintings and Master Drawings, and will provide an alternative to art and antique fairs.

Is this a new model? I guess, but we pretty much proposed the same thing last year. Read the article in the Art Newspaper here.

Goodbye Book World

In another sign that literary criticism is losing its profile in newspapers, The Washington Post has decided to shutter the print version of Book World, its Sunday stand-alone book review section, and shift reviews to space inside two other sections of the paper.

Where will they shift the book reviews and articles and discussions to?

“I think it’s going to be a great disappointment to a lot of readers,” said Marie Arana, who edited Book World for a decade before taking a buy-out from The Washington Post in December. “I just hope that there’s enough coverage and emphasis and attention given on the pages where Book World will now appear in print in Outlook and Style and Arts to satisfy those readers.”

Good luck with that Ms. Arana; it has been clear to the most casual observer that those sections of the WaPo are not really interested too much on "satisfying" their readers; at least those readers with niche interests such as book, visual arts, etc.

Think more celebrity focus and you've got the Style section. A few years ago the decay of the Style section's coverage of the visual arts in the Post started under then Style's editor Eugene Robinson, and this blog is a historical record of the decay of that section in covering the arts, as well as some outright lies by its editors over the years about some of the issues raised over the years.

In 2004 the Style section used to have one column a week to review DC area art galleries. 52 articles a year to review from a potential field of over 1,500 or so gallery shows. But 52 is better than nothing. The columns were shared by freelancers Jessica Dawson and Glenn Dixon, both ex-Washington City Paper writers. Then Dixon quit over some dispute with the Post and the art review column was reduced to twice a month.

But we were told on Monday, December 27, 2004 that the Post had "decided to hire a second freelance writer to augment Jessica Dawson's 'Galleries' reviews."

We're still waiting for that second additional freelance art critic. Instead, since then the Post has reduced its galleries' coverage even further. And it's not like we don't understand the economical reasons for this. With newspapers all over the nation slowly bleeding away readers each month, the end of the line is near for these major, once dominant moribund giants of the printed media. But what fires me up is when they still try to tell us that nothing will change and that they still "get it" as the Post's annoying radio ads proclaim.

In a phone interview with the NYT, Marcus Brauchli, executive editor of The Post said that “Our intention is to have nearly as many reviews as we’ve had in the past, though clearly there will be somewhat less room.”

Goodbye Book World.

Today in Chadds Ford

The family of Andrew Wyeth and the Brandywine River Museum invite the public to a celebration of the life and work of Andrew Wyeth, who died on January 16. This special event will be held Saturday, January 31, from 9:30 to 4:30 p.m. Complementary admission will be offered to all visitors today.

Andrew Wyeth's most famous painting, the iconic Christina's World, will be on view at the Museum for the celebration.* On loan from The Museum of Modern Art in New York, this is the first time the painting has been on view in the region. It is rarely seen outside New York City. The Brandywine River Museum currently displays 38 other paintings and watercolors by the artist.

In addition to Christina's World, Wyeth's last painting, titled Goodbye, will be also on exhibition. The painting depicts a friendship sloop sailing out of the picture past an island with a single white frame building reflected in the ocean and in the wake of the boat. The painting was completed by Andrew Wyeth in Maine in 2008.

"Andrew Wyeth once told an interviewer that 'Painting has been my one interest, nothing else but art,'" recalled Jim Duff, Director of the Brandywine River Museum. "The finest way to honor him is to enjoy the art he created."

The documentary film, Self Portrait: Snow Hill, produced by Betsy James Wyeth and narrated by Stacy Keach, will be shown in the Museum's Lecture Room every hour on the hour starting at 10 a.m. Incorporating many of Andrew Wyeth's works of art along with family photographs, home movies, personal letters and footage of Andrew Wyeth, this moving program provides insight into his private world.

In addition, memory books in which visitors can leave their thoughts will be located in the museum.

Exhibiting American art in a 19th-century grist mill, the Brandywine River Museum is internationally known for its unparalleled collection of works by three generations of Wyeths and its fine collection of American illustration, still life and landscape painting.

The Brandywine River Museum is located on U.S. Route 1 in Chadds Ford, Pennsylvania. The museum is open daily, except Christmas Day, from 9:30 a.m. to 4:30 p.m.

Visit the museum's website here.

February’s Phillips after 5

DC's Phillips Collection is teaming with the American Poetry Museum to present a panel about poetry and hip hop. It should be really great. Here are all the details…

Phillips after 5
Feb. 5
5–8:30 p.m.
Admission: By donation
Cash bar
Music: DJ Adrian Loving will spin hip-hop tunes in the Music Room. 5–8 p.m.
Discussion: Poetic Voices: Hip Hop Here and Now at 6:30 p.m.

African-American music and poetry have become a soundtrack for a migrating global audience searching for its character. Artist Fred Joiner moderates a panel of poet-scholars in a discussion of hip hop as a force that blends cultural identities with the realities of modern life. In collaboration with the American Poetry Museum.

Gallery Talk: Once upon a Picture — Lawrence as Storyteller - 6 & 7 p.m.

Explore how Jacob Lawrence’s use of patterns and bold colors tells the story of the Great Migration of African Americans to the North in the early 20th century.

Free Podcast Tonight at 7PM

I'm going to be doing a free radio podcast tonight at 7PM talking about some of the issues from the Artists' Boot Camp Webminars and answering questions. Click on the image below for details and to sign up for the free webminars.

Obara-rama at Projects Gallery Not unlike the groundswell of support during our recent national election, what began as the bubbling excitement of a few artists has swelled into a tsunami of artistic pro Obama output. Through word of mouth and passing conversations, a wide range of artistic talent and media has enthusiastically embraced the idea of celebrating the historic Presidential event. Perhaps as no other elected official in history, Obama is a canvas on which is projected the hopes and fears of a nation.

  “Obama-rama” brings together many prominent Philadelphia area artists, as well as others, united in the celebration and critique of our nation's new commander in chief, including Elizabeth Bisbing, Jim Brossy, James Dupree, Roberta Fallon, Cheryl Harper, Frank Hyder, Tom Judd, Alex Queral, Libby Rosof, Shelley Spector, Ira Upin and others, including yours truly (I have a couple of drawings of Obama as well as several lithos and etchings done in 2007 and 2008).

 Projects Gallery is located at 629 N 2nd St Philadelphia, PA 19123. Gallery hours are Wednesday & Thursday 4 - 7 p.m. and Friday & Saturday noon to 7 p.m. The show opens with a First Friday's opening reception for the artists on Friday, February 6 from 6-9PM, and continues through February 28th, 2009.

Tax Dollars for the Arts

Singers, actors and dancers can stimulate audiences, but can they stimulate the economy? The authors of the current stimulus package seem to think so — they have included $50 million for the National Endowment for the Arts and $150 million for infrastructure repairs at the Smithsonian.

NPR story by Elizabeth Blair here.

Free Podcast Tonight

I'm going to be doing a free radio podcast tonight at 7PM talking about some of the issues from the Artists' Boot Camp Webminars and answering questions. Click on the image below for details and to sign up for the free webminars.

Rosenbaum on Comforti

In early June, when Michael Conforti became president of the Association of Art Museum Directors (AAMD), no one could have anticipated the challenges that he and his colleagues would face just a few months into his two-year term.

Read Lee Rosenbaum on the WSJ here.

Manslaughter

The creator of an inflatable artwork ignored safety concerns and blocked its evacuation shortly before the walk-in structure broke free of its moorings and soared into the sky with catastrophic consequences, a court heard today.

Two women fell to their deaths and others were injured when the giant PVC sculpture, hit by a gust of wind, became airborne as members of the public relaxed on a hot summer’s afternoon at a popular park in Chester-le-Street, County Durham.

Maurice Agis, the 77-year-old artist who designed and supervised the multi-coloured Dreamspace installation, is accused of manslaughter by gross negligence over an alleged litany of safety failings.

Read the article by Andrew Norfolk in the Times here.

Free Podcast Tonight and Tomorrow Night

I'm going to be doing a couple of free radio podcasts tonight and tomorrow night at 7PM talking about some of the issues from the Artists' Boot Camp Webminars and answering questions. Click on the image below for details and to sign up for these two free webminars.

Jury Duty

I'm jurying and curating nearly a dozen shows this year, but I wanted to let you know about this very special one that I will be jurying for The Fine Arts League of Cary in North Carolina.

Deadline is March 27, 2009 (postmark).

The Fine Arts League of Cary is seeking entries for its 15th Annual Juried Art Exhibition to be held from May 8th to June 27th, 2009 in Cary/Raleigh, NC. Show awards and purchase awards will total over $5,000. Entries can only be mailed via CD. The postmark deadline for the mail-in registration is March 27, 2009.

Full details and a printable prospectus are available
on the web at www.fineartsleagueofcary.org or call Kathryn Cook at 919-345-0681.

Show Highlights:

Location - Cary/Raleigh, NC
Awards and Purchase Awards total over $5000
Mail-in Registration (Digital images on CD) - Deadline: March 27 Postmark
Notification of accepted work: April 13
Receiving of shipped accepted work: April 27 - May 1
Receiving of delivered accepted work: Sunday May 3
Receiving of delivered accepted work: Monday May 4
Opening Reception and Awards - Friday May 8
Show ends: June 27
Pick up work: Sunday June 28
Pick up work: Monday June 29
Shipped work returned: June 29

Wanna go drawing tonight in Vienna, VA?

The Soundry's figure drawing open studio with a live model is tonight from 8pm-11pm. To register and ensure your spot, please call The Soundry at 703-698-0088. Cost for non-members is $15. They will have a large table or two in the room and a few drawing boards but feel free to bring your own easel if you prefer.

Also, absolutely no cell phones, cameras, or any recording devices allowed in the studio. Must be 18 years or older to attend.

The Soundry
316 Dominion Rd
Vienna, VA 22180
www.soundry.net
703-698-0088

National Portrait Gallery responds

A while back I raised some issues concerning the acquisition by the National Portrait Gallery of the iconic Shepard Fairey portrait of President Obama. Today I received a response from the NPG:

Visual appropriation, a technique for adapting borrowed imagery which Shepard Fairey admits to using, has a long, time-honored tradition. Religious and political graphics have especially relied over the centuries on this sort of repetition. James Montgomery Flagg’s famous “I want you for the U. S. Army,” recruiting poster, for example, was “borrowed” without credit from British artist Alfred Leete’s image of a pointing-finger Lord Kitchener. Appropriation became a common tool of fine art in the 1960s in the hands of Andy Warhol and various pop artists. Fairey’s description for this approach is ““hijacking something with cultural relevance and switching it up.” Of course, wholesale borrowing can violate copyright issues legally and ethically if you are not “switching it up.” But in the case of Fairey’s portrait of Obama, his adaptation and translation of the face into something quite different falls squarely into the “fair use” category.

It is also true that the Portrait Gallery staff values pictures “from life” that represent an artist’s direct interpretation of a known subject. But there are exceptions to that standard. The engravers of George Washington’s day copied paintings for their prints; Currier and Ives’ political cartoons were based on photographic faces; designers of movie posters and political graphics typically adapt film stills and photographs. We consider all these forms valid, authentic expressions produced during the sitter’s lifetime and rich with biographical information.

Therefore, when I was told a few years ago that in order to be considered for acquisition by the NPG, a contemporary portrait had to be done from the live subject, that was wrong.

I thank the NPG for their response, but on a separate issue, I still think that Garcia's photo should accompany the Fairey artwork and that the wall plaque should detail the entire story for future generations.

Congrats!

To Philadelphia-born artist Barbara Steinberg, whose solo shows opens with a private view 19th February 6 - 9pm and an opening on 20th February, 2009 at London's Signal Gallery.

Barbara was born in Philadelphia and she studied at Smith College in Massachusetts, where she won a scholarship to study at Yale University summer school. On graduating from Smith, she received a grant to study sculpture in England, first with Ralph Brown at the West of England College of Art, then privately with Michael Ayrton in London. She returned briefly to America, to teach sculpture and take a Master of Fine Arts Degree at California State University at Long Beach, before settling permanently in London. She has exhibited across the UK in group and solo shows, most notably her solo exhibition at the Queen’s Hall in Edinburgh. This is her first solo show at Signal Gallery.

Brandeis

Most likely some of you are aware of this news about the decision to close the Rose Art Museum at Brandeis, and to sell off their extensive collection.

If you haven't already seen this, and are so inclined, here is a petition circulating in opposition to the decision.

Before you sign the petition, read why Mike Licht doesn't see why everybody else has missed the positive side of the Rose Art Museum closure at Brandeis.

Opportunity for artists with disabilities

Deadline: April 30, 2009

VSA arts, is seeking artwork by artists with disabilities for display at the Smithsonian Institution’s International Gallery in the S. Dillon Ripley Center in Washington, D.C. from June through September 2010. Artists are asked to consider the theme “Revealing Culture” as it relates to their work. Accepted mediums include two- and three-dimensional art, craft, digital art, installation, and time-based media. Work that is not selected for this exhibition will be considered for alternative spaces throughout Washington, D.C. during the 2010 International VSA arts Festival.

VSA arts’ International Festival is the largest arts and disability event in the world attracting thousands of participants. The festival will take place in Washington, D.C., June 6–12, 2010. Venues across the city will play host to artists from all media—visual arts, performing arts, literary arts, and media arts. This signature event features the achievements of people with disabilities, as well as the diversity of the arts and cultures of the participants.

Visit their website for additional information.

Another look at Soderbergh's Che

Ernesto “Che” Guevara, the Cuban revolution’s grim executioner, put people to death and wrecked Cuba’s economy. Steven Soderbergh’s two-part epic puts people to sleep and wastes their time.

In an interview given to the London Daily Worker in 1962, Che Guevara said that "if the nuclear missiles had remained we would have used them against the very heart of America, including New York City... we will march the path of victory, even if it costs millions of atomic victims... we keep our hatred alive and fan it to paroxysm."

All of the dark side of the man who once urged "atomic extermination" for American "hyenas" is missing from the two current films about his life. I've got another review of the Che movies here.

Museum troubles

After splurging on new facilities, expanded staffs and blockbuster exhibitions that drew millions of new visitors, museums are now confronted by shrunken endowments, less-wealthy benefactors and cuts in government funding, experts say.

The roughly 17,500 museums in the United States receive 850 million visitors annually.

Read Andrew Stern on Reuters here.

Opportunity for Artists

Deadline: February 1, 2009

Therese A. Maloney Art Gallery/College of Saint Elizabeth. For an exhibition opening on March 15, 2009, The Maloney Art Gallery is interested in receiving digital (jpg) submissions of art in any medium that constitutes a response to Cuba, its art and culture, people, history, landscape, geography etc. Please send up to 5 jpgs labeled with last name and title of work, a one-page resume, an artist's statement about the submitted work, and an object list with title of work, date, size (h x w x d"), weight (if over 10 lbs), owner, location. Please send to Dr. Ginny Butera, Director, by email to: artgallery@cse.edu.

An Old, Bad Idea for the Arts

Many will say (often in a testy voice) that the arts deserve a cabinet-level presence because they are just as important to the country as the Defense Department. While that's something of an apples and oranges comparison, the deeper problem is that it assumes that the country's defense and its arts can be furthered via the same sort of bureaucratic means. But while our nation's defense would collapse in the absence of the centralized power of our Defense Department, having a Department of Culture -- or even a "Cultural Czar," to use that awful label we've apparently become so fond of -- would be neither an effective nor necessary way to guarantee the health of cultural expression in America.

Read David Smith in the WSJ here.

Get Mannie Garcia's Photo at the NPG

By now the story on the fact that DC photographer Mannie Garcia was the uncredited original source for Shepard Fairey's iconic portrait of President Obama has been all over the internets (although curiously out of the dead tree mainstream press as far as I can detect).



The above photo by Joe Tresh captures the unveiling and installation of the Obama portrait by Shepard Fairey at the National Portrait Gallery on Saturday, January 17, 2009. Street artist Fairey is the gentleman in the sharkskin grey suit.

A while back I asked the NPG for clarification on its acquisition policy. It is my understanding that contemporary portraits could only be considered for acquisition if the portrait was done by the artist from the actual living subject. At least that's what I was told by an NPG curator a few years ago when I sold a portrait to the NPG. My recent question to the NPG has been elevated to the curator and I am waiting for a response. The NPG response should be an easy one. They can either say:

(a) Mr. Campello, you are right in that it is the policy of the NPG to acquire contemporary portraits only when the portrait has been done directly from the subject. However, because of the historical importance of this piece, the NPG made an exception to this policy as it would with any important contemporary portraits.

(b) Mr. Campello, you are incorrect when you ask if it is the policy of the National Portrait Gallery to only acquire those contemporary portraits which are done directly from the subject.

In any event, since the Fairey piece is now in the permanent collection of the National Portrait Gallery, through the generous donation of the DC area's ubercollectors Heather and Tony Podesta, I think that it is only fair that Garcia's photograph also hang next to Fairey's piece and that the wall text reflect the process via which the ubiquitous Fairey work was created.

After all, the piece is sort of a 21st century collaboration, right? And I bet that I can even help to get one an original photo for the NPG.

And this has nothing to do with any opinions on the issue of Fairey's use of Garcia's photograph. Artists have been "sampling" other artists' works and other people's images for generations (including me) and technically what the brilliant Fairley did is probably legal, as Richard Lacayo in Looking Around writes, "in lawsuits over image appropriation, judges commonly try to decide whether an artist's re-use of earlier material is 'transformative'. If the new image passes that test, the appropriation is protected by the fair use doctrine, which permits limited reproduction of copyrighted material."

And according to Michael Scherer:

"Garcia, who now works at the White House for Bloomberg, says he hopes to get in touch with Fairey so he can talk over the image that has exploded into a pop culture icon. 'Photographers are always getting ripped off,' said Garcia, who quickly added that he was not angry or seeking money from the artist who appropriated his image. 'You see it everywhere. You see it on everything.'

'I'd like to talk to Fairey,' Garcia continued. 'As gentlemen we can work this out. . . . I don't want it to get ugly.'"

It is also clear that at the time that he sampled the Garcia photograph, Fairey had no idea who the photographer was.

But is its also clear to the most casual observer that by now he must know!

That's between them; to me what is also clear, is that this 21st century artistic collaboration, unravelled by 21st century Internet sleuthing, are now and forever intermingled, and the story of the Obama poster now includes the name Mannie Garcia, and Tom Gralish, and Steve Simula, and several others.


Barack Obama photograph by Mannie Garcia
I plan to write Martin Sullivan, the NPG director a letter on this subject and I hope that some of you do as well. Or you can email Mr. Sullivan at SullivanM@si.edu.

Write to:

Martin Sullivan
Director
National Portrait Gallery
Smithsonian Institution
PO Box 37012
Victor Building–Suite 4100 MRC 973
Washington, DC, 20013-7012

New Conservator at VFMA

The Virginia Museum of Fine Arts has named Stephen D. Bonadies to be its chief conservator and deputy director for collections management, VMFA Director Alex Nyerges has announced.

A 27-year veteran of museum work, Bonadies comes to Richmond from the Cincinnati Art Museum, where he held positions including chief conservator, director of museum services, deputy director and interim co-director. He will begin work at VMFA March 2, 2009.

I am fascinated by the conservation process and at the same time shocked how little many art schools spend teaching its art students about conservation materials (or about art materials period).

My favorite read on this subject is Jonathan Harr's superb The Lost Painting. The book is the story, told by Harr masterfully as an art detective story of sorts, of the discovery of Caravaggio's The Taking of the Christ in a Jesuit residence in Ireland.

Digital Change

Now that Barack Obama has officially assumed the presidency, the nation anxiously anticipates his fulfillment of his promise of change.

But before the new legislative agenda takes shape, several transformations have already occurred. Former visual representations of our presidents rarely ventured beyond press photos or political cartoons. But Obama artwork has already encroached upon new realms.

For the first time in history, Obama's official presidential portrait was captured by a digital camera. Pete Souza, the White House's new photographer, snapped the shot on Jan. 13. He used a Canon 5D Mark II and took the picture without using a flash.

Read the article by Jennifer Gambrell in The Davidsonian here.

It doesn't make sense to me

The Washington Post's erudite chief art critic is Blake Gopnik, the brother of New Yorker magazine art critic Adam Gopnik.

For some reason, the Washington Post's editors allow their chief art critic to ignore the Greater Washington area art galleries and only focus on museums. By now Washingtonians have grumbled about that odd process for years, but are resigned to it.

But when Gopnik goes through New York City galleries and provides an entire page of mini reviews of NYC galleries, each with a nice color image, something which he has never done for his own hometown art galleries, the message is very clear to the Washington area art galleries.

The message is: "You are not good enough for my time."

And the message that the Washington Post sends to its core readers and hometown is: "Your art scene is not worthy of Blake Gopnik's time."

Shame on the Washington Post, you suck.

Opportunity for Artists

Deadline: February 15, 2009

The Hoyt Institute of Fine Arts in New Castle, PA is currently seeking artists to fill its 2010-2011 Solo Exhibition Schedule. Artists living in the Mid Atlantic region (PA, OH, NY, NJ, MD, VA, W.VA, DE and Washington DC) are invited to apply. Please submit a proposal that includes contact information, exhibition statement, 10-20 images on CD(jpeg format 500kb max) or slides, image list (including title, media and dimensions), resume or curriculum vitae, SASE for return of materials and $30.00 review fee to:

Solo Exhibition Proposals
Hoyt Institute of Fine Arts
124 East Leasure Ave
New Castle, PA 16101

Register for Artists' Boot Camp

Mannie Garcia's Source Photo of Obama Poster Found

First we thought that the below item had solved the mystery of the source of Shepard Fairey’s image of President Barack Obama that became an icon and is now in the permanent collection of the National Portrait Gallery.

"Blogger Michael Cramer created the composite photo above after sifting through countless images to find a match. The poster has Obama facing the opposite direction; Cramer flipped it to correspond with the original source photo."

Read the Reuter story here.

However Philadelphia Inquirer photographer and blogger Tom Gralish then found another potential source discovered by Steve Simula here!



And in the comments section of Simula's Flickr page, Cramer writes "You definitely found the right one. My match was close, but you got it spot on. Congrats."

Good detective work by Simula.

It gets better; after Simula identified the photograph (it was reproduced in this blog without any references so no one knew who the photographer was), the Inky's Tom Gralish began diggging around and he found that the original photograph was "made by freelance photographer Mannie Garcia who was on assignment for the AP in April of 2006." Details here.

Good detective work by Gralish.

Mannie Garcia is a DC-based photographer!

So Mannie Garcia is the uncredited source for Fairey’s artwork now at the NPG.

I think that Mannie's photograph should accompany the artwork and that the NPG should exhibit them side by side.

And thus I hereby call for the National Portrait Gallery to acquire the original Mannie Garcia photograph.

And kudos to Gralish and Simula.

Update: Brian Sherwin, Senior Editor at MyArtSpace.co Blog has some words on how this whole issue relates to copyright and Orphan Works Legislation.

Update 2: Mannie Garcia writes in his website: "The Danziger Gallery which represents the artistic works of Mr. Fairey contacted me on the 21st of January 2009 to inform me that my photograph was in fact the basis for the artwork that has become better known now as the “HOPE” and “PROGRESS” posters"

Virginian Waves

New Waves 2009 is the title of the exhibition of Virginia artists at the Contemporary Art Center of Virginia which says that "New Waves 2009 is an opportunity for CAC to support the work of Virginia artists by assisting them in garnering recognition from the public and nationally recognized galleries and collectors."

The opening reception is from 7-9pm on Friday, January 23, 2009 and the New York and Atlanta gallery-owner jurors selected Susana Almuina, Clover Archer, Nicole Baumann, Stephanie Bingham, Mikael Elliot Broth, Travis Childers, RJ Clark, Derek Cote, davmo, Miriam Ellen Ewers, Peter Geiger, Kirsten Kindler, Lisa McCarty, Megan Mueller, Michael Ohgren, Kristen Rego, and Rainham D.M.H. Rowe.

Because from of all those names I recognize only two (and I think that I have a pretty good handle on a lot of Virginia artists) I am really curious as to whom the jurors selected. In fact, I'm going to visit this show and see what the works looks like.

As outsiders, the two jurors would have brought in a couple of fresh, unprejudiced eyes to the selection process, rather than a priori knowledge to the process.

I'm a little surprised in that I think that this is a good thing.

In fact, the more that I think about it, the more that I think that other jurying processes or award processes that are regional in nature, should employ as jurors qualified outsiders who look only at the work and its visual and collective merit, rather than "recognize" the work and thus the artist and thus bring in immediate opinions and prejudices to the contest.

The drawback would be when an outsider fails to recognize a copycat artist. In the card below I see at least someone channeling Dan Steinhilber and half a dozen Art0matic artists of the past.



But I think that the gains from clear, unprejudiced eyes, outweigh the occasional copycat from getting into the list. It could even be a case of remarkable confluence.

The reason that I have been able to predict a lot of direct hits at such major regional awards such as the Trawick Prize is because that very prestigious award employs local jurors for their process, and so far it has been my impression that many, not all, of the jurors bring in too much knowledge, and too close a relationship in a few cases, with some of the award winners.

It would be interesting to see the Trawick employ three jurors this year from other neighboring states, rather than a Virginia, Maryland and DC juror. In fact, they could switch off every year.

One year DC, MD and VA jurors; the next year other states, and so on.

I bet that more interesting results would come out, instead of the usual suspects getting the award almost every year.

Chia Obama

(Via ArtofObama.com)

You can buy it from Chia for $20 bucks...

Grants for Arlington County, Virginia artists

Deadline: Tuesday, January 27, 2009 at 9:00 PM

Spotlight Grants are intended to encourage Arlington-based Visual, Media and Performing Artists to develop and present innovative new arts projects or programs that benefit Arlington County and its residents, increase access to and involvement in arts experiences for Arlington residents, and respond to diverse community needs.

Details and application here.

Christina's World on view

The family of Andrew Wyeth and the Brandywine River Museum invite the public to a celebration of the life and work of Andrew Wyeth, who died on January 16. This special event will be held Saturday, January 31, from 9:30 to 4:30 p.m. Complementary admission will be offered to all visitors on this day.

Andrew Wyeth's most famous painting, the iconic Christina's World, will be on view at the Museum for the celebration.* On loan from The Museum of Modern Art in New York, this is the first time the painting has been on view in the region. It is rarely seen outside New York City. The Brandywine River Museum currently displays 38 other paintings and watercolors by the artist.

"Andrew Wyeth once told an interviewer that 'Painting has been my one interest, nothing else but art,'" recalled Jim Duff, Director of the Brandywine River Museum. "The finest way to honor him is to enjoy the art he created."

The documentary film, Self Portrait: Snow Hill, produced by Betsy James Wyeth and narrated by Stacy Keach, will be shown in the Museum's Lecture Room every hour on the hour starting at 10 a.m. Incorporating many of Andrew Wyeth's works of art along with family photographs, home movies, personal letters and footage of Andrew Wyeth, this moving program provides insight into his private world.

In addition, memory books in which visitors can leave their thoughts will be located in the museum.

Exhibiting American art in a 19th-century grist mill, the Brandywine River Museum is internationally known for its unparalleled collection of works by three generations of Wyeths and its fine collection of American illustration, still life and landscape painting.

The Brandywine River Museum is located on U.S. Route 1 in Chadds Ford, Pennsylvania. The museum is open daily, except Christmas Day, from 9:30 a.m. to 4:30 p.m.

Visit the museum's website here.

Tim Tate at the LA Art Show

Shasta McBride at the LA Art Scene Examiner reviews the LA Art Show and highlights DC artist Tim Tate.

Read it here.

Call for Fiber Artists

The Washington D.C. metropolitan area has some of the finest national and internationally known fiber artists in the country. BlackRock Center for the Arts is proud to present the 2nd Annual “Tribute to Fiber Art” Juried Exhibition. Their goal is not only to support our local area fiber artists but to give East Coast collectors an exhibit of exceptional quality.

Juror Jodi Walsh first started this exhibit at APEX Gallery on 7th Street in Washington DC. “Tribute to Fiber Art” was reviewed by the Washington Post and grew into an outstanding exhibit that was supported by the Smithsonian by giving annual tours to their collectors.

Because of her extensive travels overseas Jodi understands the importance of fiber art to the art world. Waslh says that “fiber artists have given new life to their medium by exploring new techniques and media. Combining the old and the new creates art work that is both stimulating and highly collectable. With the support of BlackRock Center for the Arts fiber artists have a new home to exhibit their work and fiber art collectors will enjoy visiting this pristine gallery to view an exceptional exhibit.”

Eligibility: Open to all fiber artists residing in Maryland, Virginia and Washington DC over the age of 18. Fiber Art: artwork that is created of fiber material. Please note that they will not be accepting clothing pieces. Fiber artists interested in the exhibition should contact Lee Stern at lstern@blackrockcenter.org or call Lee at 240-912-1050 for a copy of the prospectus.

Award: As in the tradition of the original “Tribute to Fiber Art” Juried Exhibition a solo exhibition the following year will be awarded.

Dates and Deadlines 2009
Saturday, January 31 - Deadline postmarked or delivered by 2:00pm
Thursday, February 5 - Jurying
Week of February 9 - Notification
Thursday, February 26 - Delivery: between 9am – noon
Tuesday, March 3 - Installation of work
Friday, April 10 - Pickup 9am - noon

Exhibition Timeline
Exhibition - March 4 thru April 9
Reception - Saturday, March 7, 5:30 – 7:30pm
Gallery Hours - Mon – Fri: 9am – 5pm, Sat: 10am – 2pm

Art of Obama

Art of Obama.com has an ever growing collection of pro Obama artwork online. You can submit your own Obamart by emailing it to contact@artofobama.com with all the appropriate details.

Congrats!

To the capital region's Michael Janis, who has just been selected as the Outstanding Emerging Glass Artist 2008-2009 - from the Florida Glass Art Alliance.

Janis was nominated by Myrna and Sheldon Palley (uber glass collectors whose glass collection makes up Miami's Lowe Art Museum via the just opened Palley Pavillion).

For years I've been telling you: buy Michael Janis now!

Congrats Mike!

Ronaldus Magnus

Nearly 38 million Americans watched inauguration coverage of President Barack Obama on Tuesday, the most popular inauguration day on television since Ronald Reagan took office in 1981.

Nielsen Media Research said Reagan's 41.8 million remains the record.

Details from the HuffPost here.

Also in the HuffPost is this story about MSNBC's poor ratings. I can understand that; during the election year, I was an avid MSNBC watcher.

But somehow now that the election is over, and we're all trying real hard to support the new president, and unity is the word in the air, MSNBC (especially the once fun Keith Olbermann, whose feud with Bill O'Reilly has gone from funny to stupid) seems boring, repetitive and divisive, and more and more a self-licking ice cream that is more and more the exaggerated ying to the FoxNews' yang.

So part of my "change" resolution for 2009 is to stop paying attention to those from the extreme right and the nutty left who profit by feeding us division as the only solution.

And to create more art.

Flying Pigs

The WaPo on flying pigs; read it here.

Christie's woes

“We have begun to implement a companywide reorganization, which includes significant staff reductions, not renewing many consultants’ contracts and the continuation of other cost-reduction initiatives, that will ensure we remain competitive and profitable in 2009,” Christie’s said in a statement on Monday, without saying how many positions might be cut or giving any further details.

In the last months, auction prices dropped together with financial markets, ending a decade-long boom in the art market that was buoyed by record bonuses paid to financial executives.

Read the NYT article here.

The Latest from Pink Line Project

Art Market

...we look at the effect the credit crunch is having on the art world as the new year begins. In the art market, there have been a few early victims of the crisis, including the 18 employees sacked by PaceWildenstein in New York, and the 17 “fabricators” of pill cabinets, butterfly paintings and pickled animals axed by Damien Hirst. “I want to make sure that we are the best swimmers on the block. The luxury of carrying under-performing employees is now a thing of the past,” warned Mr Gagosian, in a similar vein, in the same memo to his staff.

In Miami, the trendy French dealer Emmanuel Perrotin has shuttered his gallery, and now will only reopen it for Art Basel Miami Beach next December. Sotheby’s is also trimming its workforce, and has announced it has abandoned guarantees for the foreseeable future. The firm, and its arch-rival Christie’s, were badly hit by the collapse in art prices during New York’s sales of impressionist, modern and contemporary art in November, which garnered only half the expected totals. Those sales were prepared before the autumn, when art prices were still riding high. Some works sold in November for half their low estimates, and up to 75% of the works in some sales were bought in.

Read Georgina Adam at the Art Newspaper here.

Age of Obama

Congratulations to President Obama on his spectacular and history-making achievement. And now, regardless of where you stand on the political spectrum, let's see if we can set aside our differences and get behind this man regardless of what the extreme left wing nuts and the extreme right wing nuts do and say.

World History Series: The Age of Obama
F. Lennox Campello
Charcoal on paper, c. 2009
13 x 9 inches matted and framed to 24x18 inches
In a private collection in Dublin, Ireland
This is my first drawing of 2009 and it will be on exhibition at Projects Gallery in Philadelphia next month. More on that show later.
Update: Sold by Projects Gallery to a collector in Ireland.

Opportunity for Curators

Deadline: March 1, 2009

The Philadelphia Museum of Art seeks applicants specializing in modern and contemporary art for a post-doctoral fellowship, funded by The Andrew W. Mellon Foundation, and offered beginning June 2009. Available to outstanding scholars who wish to pursue a curatorial career in art museums, this two-year fellowship, with a possible third year renewal, will provide curatorial training while also supporting scholarly research related to the renowned collections of modern and contemporary art at the Philadelphia Museum of Art.

Details here.

Photography Collecting Tip

Most newspapers have a process via which you can buy their photographers' photographs for a very reasonable cost.

If you're in the market for a historic photographic memento of the Obama inauguration, I suggest acquiring whatever the Washington Post will make available here.

And if you got a little chutzpah in you, then you can call the photographer at the WaPo and see if you can talk them into meeting you at the lobby and have them sign the photograph.

The Art of Change


Artomatic, Inc. and Playa del Fuego, Inc. – institutions of the mid-Atlantic arts community – have joined together to create this year’s most distinctive inaugural celebration, The Art of Change (www.artists-ball.org), on Jan. 20, 2009 at 8pm.

With the generous support of corporate sponsor Scion (www.scion.com) and location sponsors The Warehouse Arts Complex (www.warehousetheater.com) and Douglas Development (www.douglasdevelopment.com), this event brings Washington, D.C., a unique opportunity to celebrate the inauguration of Barack Obama as President.

Tickets are available immediately for $50 at www.artists-ball.org.

Occupying three separate venues on the 1000 block of 7th Street, NW in downtown Washington D.C., The Art of Change will feature visual and performing arts, multiple dance floors, fire dancing and live music. DJs from across the mid-Atlantic region will be spinning an eclectic mix of musical styles on two dance floors, and in The Art of Change Galleries, displaying artworks created for this celebration. The Variety Stage will showcase performances all night long, including live music, comedy, belly dancing and spoken word poetry. And outside, attendees will enjoy fire-dance performances while dancing to up-and-coming DJs in the heated White Tent.

George C. Koch, chair of Artomatic, Inc.: “The Art of Change is an example of the collaborative spirit within the creative community and it speaks to the desire of artists to be a full partner in the change that is taking place in our country and our community. The Art of Change brings together the progressive and creative communities to support a new vision for our creative economy.”

For more information visit www.artists-ball.org.

Che: Early Look


It all started at 7PM and by 11:30PM it was all over, and I must report that there were some deserters, but I went to see Steve Soderbergh's "Che" last night. I have four separate publications which have asked me for reviews, so I'll be doing those first, but meanwhile a quickie for you guys:

- Movies are way too long and too many fighting skirmishes in both of them and zero plot to them.

- Benicio del Toro does a great job as Che, but supporting actor Santiago Cabrera steals part one as Camilo Cienfuegos.

- Part one and two delivers Che as a champion of the poor, the illiterate, the peasants and generally everyone who is shoeless. Even a light reading of Che's own writing and memoirs would reveal that this simplistic offering of this highly complex figure is incomplete and perhaps even dishonest. A more balanced approach should have included the Guevara who was judge, juror and executioner, and the inexperienced post-revolution Guevara who helped to destroy the Cuban middle class, the island's business infrastructure and its agricultural base.

- Part two is a huge disappointment in its lack of character development or even the slightest explanation why the storyline jumps from Cuba to Bolivia. Che's Bolivian guerrillas, which never numbered more than 51, included 17 Cubans who went along with Guevara in his effort to "export" revolution to the Americas after secret failures in Africa and Venezuela. The Cubans, who looked and talked very different from most Bolivians, held nearly all the command positions, but they were unable to speak the local Quechua or Aymara languages of the indigenous local Indians. This doomed the effort.

More later! I gotta go watch some football!

Obama and the Arts

Though Obama hasn't made any arts or humanities appointments yet, he has signaled that he regards culture seriously. During the campaign, he took the unprecedented step of forming an Arts Policy Committee, which produced a thorough list of policy objectives. (Rare are the campaigns that can boast a statement of principles drafted by a Pulitzer Prize-winning novelist—in this case, Michael Chabon.)

Read Jeremy McCarter in Newsweek here.

Opportunity for Artists and Curators

Deadline: February 20, 2009

VSA arts seeks exhibition proposal(s) that include artists with disabilities for consideration to be displayed at the Kennedy Center Terrace Gallery from May-June 2009. Proposals will also be considered for programming in advance of and during the 2010 International VSA arts Festival. VSA arts encourages curators and researchers from the cultural, university, and museum communities, including those with disabilities, to incorporate the work of artists with disabilities into their exhibitions. We welcome proposals that address, challenge, and expand the discussion about disability and culture.

Exhibitions may include a wide range of media such as digital art, drawing, installation, painting, photography, printmaking, sculpture, and video.

VSA arts is committed to expanding the understanding, development, and appreciation of contemporary work by artists with disabilities.

For more information visit this website.

This weekend in DC


Irvine Contemporary is the exhibition manager of Manifest Hope:DC, a celebration of art and artists who were motivators of the national movement that helped bring Barack Obama to the presidency. Manifest Hope:DC is produced by EMG and Shepard Fairey's OBEY group, and is also sponsored by MoveOn.org and the SEIU.

Details here.

MANIFEST HOPE:DC
January 17-19
3333 M St., NW
Washington, DC

Saslow on Ellyn

The WaPo's Rachel Saslow on Dana Ellyn at H&F Fine Arts.

Half a day

I'm setting half a day to go see the "Che" movie today... the protests and picketing of the film have already begun.

Frank Warren at Lisner

One of the world's greatest art ongoing projects is PostSecret, and its creator, my good friend Frank Warren, will be at Lisner Auditorium at George Washington University on January 23rd discussing the project.

Online link to buy tickets for the Lisner event is here. Also check out this video.

American Hero

Chesley B. "Sully" Sullenberger III
The right guy, at the right place, at the right time. This 57-year-old former Air Force fighter pilot has been flying for more than 40 years, and has been with US Airways since 1980.

Andrew Wyeth

Chadds Ford, PA January 16, 2009--Andrew Wyeth, often referred to as America's most famous artist, died in his sleep at his home in Chadds Ford, surrounded by his family early this morning, after a brief illness. Wyeth, 91, was painting until recently, with some new works exhibited at the Brandywine River Museum in 2008.

Wyeth ignored the preferences of the art establishment during the heyday of abstract expressionism but nonetheless won international acclaim with exhibitions throughout the world, received many awards, and inspired countless imitators. His work brought some of the highest prices for a living American artist. His painting, Christina's World (1948), is one of the best-known images of the 20th-century.

"The world has lost one of the greatest artists of all time," said George A. Weymouth, a close friend and chairman of the board of the Brandywine Conservancy.

Andrew Newell Wyeth was born in Chadds Ford, Pennsylvania on July 12, 1917, a son of the internationally renowned painter and illustrator N.C. Wyeth and his wife Carolyn Bockius Wyeth. Theirs was a creative family: Henriette Wyeth Hurd, Carolyn Wyeth and Andrew were painters; Ann Wyeth McCoy was a composer; and son Nathaniel was an engineer and inventor with many patents to his credit.

At age 15, Wyeth began his academic training in his father's studio. In that year, on one of his boyhood walks, he discovered the Chadds Ford farm of Karl and Anna Kuerner. Wyeth was intrigued by Kuerner, a German immigrant and World War I veteran, developing a close relationship with him over the years. Wyeth has found subjects in the Kuerner farm's people, animals, buildings and landscapes for hundreds of works of art over more than 75 years.

The Wyeth family spent summer months in Maine, and Andrew Wyeth's early watercolor landscapes, much influenced by the work of Winslow Homer, met with enormous critical acclaim at his first one-man show at the William Macbeth Gallery in New York City in 1937. An exceedingly self-critical artist, this immediate success did not reassure him. Feeling that his work was too facile, he returned to his father's studio for further concentration on technique.

Wyeth soon began working in egg tempera, a technique introduced to him by his brother-in-law, the painter Peter Hurd. Tempera became his major medium. He said that it forced him to slow down the execution of a painting and enabled him to achieve the superb textural effects that distinguish his work. His other mediums were watercolor and drybrush watercolor.

In 1940, Wyeth married Betsy James, whom he had met in Maine the previous summer. It was Betsy who introduced Wyeth to her long-time friend Christina Olson, who had been crippled by polio. Olson's character represented "old Maine" to him, and she became his model for many works of art, including Christina's World.

Wyeth caused a sensation in 1986 with the revelation of a large collection of paintings featuring German immigrant Helga Testorf, a Chadds Ford neighbor. The paintings were first exhibited at the National Gallery of Art in Washington, DC, the following year, and were then exhibited internationally and seen by millions.

In 1987, the exhibition An American Vision: Three Generations of Wyeth Art, featuring 117 works by N.C., Andrew, and Jamie Wyeth, traveled to the Soviet Union and to nine cities around the world.

In addition to his wife, Wyeth is survived by two sons, Nicholas, a private art dealer in Maine, and his wife, Lee; and Jamie, also a very well-known painter, and his wife, Phyllis; and granddaughter Victoria Browning Wyeth.

Wyeth received many awards during his lifetime. In 1963, President John F. Kennedy named Wyeth the first artist to receive the Presidential Freedom Award, the country's highest civilian award. In 1970, he was the first living artist to have an exhibition at the White House. Wyeth's other tributes include the gold medal for painting from the National Institute of Arts and Letters (1965), several painting and watercolor awards and numerous honorary degrees. In 1977 he made his first trip to Europe to be inducted into the French Academy of the Fine Arts, becoming the only American artist since John Singer Sargent to be admitted to the Academy. The Soviet Academy of the Arts elected him an honorary member in 1978. He received the Congressional Gold Medal in 1990. Most recently, he was awarded National Medal of Arts in 2007. He also received numerous honorary degrees.

One-artist exhibitions of his work routinely broke attendance records at major museums, including the Pennsylvania Academy of Fine Arts in Philadelphia, the Baltimore Museum of Art; the Whitney Museum of American Art; the Museum of Fine Arts, Boston; The Art Institute of Chicago; and the Museum of Fine Arts, San Francisco. His work was also exhibited at museums throughout the world, including the National Museum of Modern Art in Tokyo; the Hermitage Museum in St. Petersburg; the Palazzo Reale in Milan; and the Academie des Beaux Arts, Paris, among many other museums. He was the first living American artist to have an exhibition at the Royal Academy of Arts in London. An exhibition of his work at the Philadelphia Museum of Art in 2006 drew 177,000 visitors in 15 1/2 weeks, the highest-ever attendance at the museum for a living artist.

His work is included in many major American museums, including The Museum of Modern Art in New York City and the National Gallery of Art, as well as the Brandywine River Museum in Chadds Ford, Pennsylvania and the Farnsworth Art Museum in Rockland, Maine, to name only a few.

Services will be private. A celebration of his life and work will take place at the Brandywine River Museum at a date to be announced. In lieu of flowers, the family requests donations be made to the Brandywine River Museum and the Farnsworth Art Museum.

-- Brandywine River Museum

Opportunity for Artists

Deadline February 6, 2009

20th National Drawing & Print Competitive Exhibition. A minimum of $1500 available in purchase prize money. Drawings and prints (not photography) in any medium are eligible. A non-refundable entry fee of $30 entitles the artist to submit up to three entries. The Juror is Allegra Marquart, Professor of Printmaking at Maryland Institute College of Art. Deadline February 6.

Enter online here.

National Drawing and Print Competitive Exhibition
Attn: Geoff Delanoy
College of Notre Dame of Maryland
4701 North Charles Street
Baltimore, MD 21210

Email: gormleygallery.ndm.edu

Taxman

It makes me feel kinda warm and fuzzy that the nominee for Treasury Secretary, Timothy Geithner, who essentially will be in charge of the IRS, and who is supposed to be a financial genius, made an "innocent mistake" and failed to pay $34,000 in taxes between 2001 and 2004.

If financial geniuses can make $34,000 mistakes on their favor, get audited by the IRS, get off a couple of years' worth of back-taxes, and then become the IRS' boss, things are good for the rest of us "regular" financial types.

But, since some of Geithner's mistakes were forgiven by the IRS because of the statute of limitations, he actually got off not paying off some of his back taxes. I hereby call for Geithner to donate that tax amount that he should have paid, but didn't because of statute of limitations, to the Smithsonian Institution.

Live Model Drawing at MPA

The McLean Project for the Arts in Virginia is offering a January session as well as Winter and Spring sessions of Open Studio -- Live Model Drawing.

Details here or call 703.790.0123
for directions and registration.

The arts to get their $ from the economic recovery package

"For the last month, Americans for the Arts has been working with the field, Congress, and the Obama Transition Team to include support for the nonprofit arts sector and individual artists in any federal economic recovery package. With your help, we have been compiling examples of how the recession has affected arts groups. We are getting this compelling information along with our economic impact data into the hands of key policy leaders in Washington.

Last week, Americans for the Arts officially proposed Nine Recommendations for Economic Recovery & the Arts to help nonprofit and governmental arts groups as well as individual artists during this economic downturn. Today, Americans for the Arts President and CEO Bob Lynch met with the Obama Transition Team to discuss these and other ideas.

Also today, the House Appropriations Committee released an $825 billion economic recovery package. Included in the proposed bill is an infusion of $50 million for the National Endowment for the Arts (in addition to its annual appropriations) to specifically preserve jobs in the nonprofit arts sector threatened by declines in philanthropic and other support. The House plan proposes additional opportunities throughout other parts of the federal government that could also help the nonprofit arts sector and individual artists. Many of these other opportunities correspond closely with our Recommendations for Economic Recovery & the Arts."

Details here.

Steven Soderbergh's Che

More on my expectations of Steven Soderbergh's Che, which bring some prejudices, notions, knowledge, facts, and ideas about how a film should depict Guevara.

Ernesto "Che" Guevara de La Serna Lynch. Charcoal on paper, 5 x 17 inches, c.1999 by F. Lennox Campello
Read it here.

At the Corcoran

Alberto “Korda” Díaz’s image of Che Guevara as saint, guerrilla, and fashion statement is considered to be the most reproduced image in the history of photography. The stunning documentary film, Chevolution (Red Envelope Entertainment, 2008), codirected and produced by Trisha Ziff, explores how and why this image became so important. Through original footage, notable interviews, and a look into vast archival collections of Che images, this film tackles the complexity and contradictions of what this important photograph still means today. Ms. Ziff is a curator of contemporary photography, filmmaker, and Guggenheim scholar who lives and works in Mexico. Following the screening, she discusses the film and takes questions from the audience.

The lecture is January 21, 2009 at 7PM. Sign up for the lecture here.

That photo of Che by Korda has been commercialized beyond belief, and Korda never received any compensation from the appropriation of his image. A few years ago, just before he died, the Cuban dictatorship allowed him to sue a French company and prevent the use of the image on a "Che" Vodka.

A couple of years ago I helped one of the collectors that I advise to acquire a huge collection of vintage Korda photographs which were his private copies and proofs and which passed to his daughter upon his death. They are now safe in a private collection in West Palm Beach and she received some good money for them.

But from the millions of Che T-shirts and posters and endless reproductions of the photograph, Korda never received a penny.

My favorite Che T-shirt is below...