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Monday, February 09, 2009
New drawing for the Habatat Auction
I told you a few days ago that 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.
Woman Jumping into the Void. Charcoal on Paper. 11x14 inches framed. F. Lennox Campello, c. 2009.
I plan to donate the above drawing to 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
The Art League's 42nd Annual Patrons' Show
If you were crazy enough to be hanging around Old Town Alexandria about 4 AM on a cold morning last January 17th, about that time you would have noticed people forming a long line in the brutal cold outside the Torpedo Factory. They were waiting for a chance to get original art for their collections – or perhaps some brave souls starting to collect art.
"A line for art?" you must be asking, "who is crazy enough to freeze lining up at Oh-dark-thirty just to buy artwork?"
Hundreds.
They were lining up for one of the great art deals of the year: the Art League's Annual Patrons' Show. It's very simple: artists donate original artwork to the Art League, who inspects it, selects it and often frames it. It is quality stuff, ranging from huge abstracts to delicate pencil drawings. The Art League represents nearly 1,800 artists in the area, so there's plenty of possible sources of art donated by generous artists. See some of the donations here.
It is one of the largest art events in the country, with around 600 original works of art finding a new home in one day.
Usually about 600 pieces are donated and hung salon style in the Art League’s gallery on the first floor of the Factory. The raffle tickets went up for sale at 10 AM on January 17th, and they usually disappear within an hour or two; and each ticket equals a guaranteed a work of art. Thus as work is donated, more tickets become available.
The Art League's annual Patrons' Show usually features between 500-600 works of fine art donated by Art League and Torpedo Factory artists, and the number of tickets sold matches the number of works donated. The show may be viewed in The Art League Gallery from February 4-15 (or some of them online here, and ticket-holders may come during this time to view the show and note their favorite pieces.
The actual drawing for the 2009 Patrons' Show will be held Sunday, February 15 in the main hall of the Torpedo Factory Art Center.
Thus on that Sunday, February 15 at 5PM, people who have a ticket begin gathering into the main floor of the Factory and they bring chairs, tables, food and loads of booze (this is like an art picnic) as it will be a long, loud, fun, cheery and boozy evening as the tickets are drawn at random; and as they are called, ticket-holders select a piece of art from the work on display on the walls.
Everyone with a ticket is guaranteed a work of art. The tickets cost $175 each - an amazing deal once you see the work that you can get.
The first ticket called gets the first choice and so on - you get to pick the best piece (to you) from around 600 works of art). You better pick one quickly, or the crowds begin to shout and whistle and demand a choice be made.
It is without a doubt, the most sought after art ticket in town, and often incredible acquisitions are made... and I hear that there are some tickets available on the wait list.
Call the Art League at 703/683-1780 and more details here.
Sunday, February 08, 2009
Went to Projects last Friday
I went to Projects Gallery in Philly's Northern Liberties neighborhood on Friday night for the opening of dual shows: Guilty Pleasures and Obama-rama. I have a drawing in each one of these shows and several lithographs of Obama done in 2007 and 2008.
The gallery was packed and we were greeted at the door by the amazing team of Roberta Fallon and Libby Rosof, as they were handing out copies of their Obama OK book, edition of 100, to people as they arrived. Roberta and Libby also have the cool paintings that make up up the book on exhibition.
Seems like I have been to and in a dozen Obama shows in the last month alone, but in my own prejudiced and subjective view, this was one of the best ones that I have seen, mostly for its spectacular diversity of interpretations of the theme and the media that artists used to express their Obama viewpoints.
The below huge installation of black and white portrait paintings by Frank Hyder titled Fifty States of Obama to me was the most visually striking piece in the show, and maybe a predictor for the next election?
Frank Hyder. Fifty States of Obama. 100”H x 40”W. Ink paint on canvas
I also liked Cheryl Harper's Count on Me Obama Bank, a stoneware and acrylic paint 3D work that when executed in 2008 had one meaning and now, in view of the spectacular financial mess that we are allegedly in, acquires a whole new meaning and presence.
Cheryl Harper. Count on Me Obama Bank. 15"H x 8.5"W x 9"D. Stoneware and acrylic paint
Tatyana Fazlalizadeh's Is He Black Enough? smartly touches on the revolving issue of Obama's "blackness." During my frequent drives between Philly and DC, one of my favorite radio spots in the morning is the Baltimore area's Larry Young Show on WOLB, where Larry and the Coach discuss a lot of issues affecting the African American community in Baltimore and in general. I recall the early days of the Obama campaign, and the sometimes heated discussions on that same topic as WOLB's audience opined on Obama's blackness. Fazlalizadeh's oil flexes the representational genre's ability to take a subject and present and ground it viscerally.
Tatyana Fazlalizadeh. Is He Black Enough?. 24”H x 18." Oil on canvas
I also liked Mia Rosenthal's January 19, 2009, another ink and graphite on Bristol board which continues Rosenthal's intelligent tiny composite and obsessive drawings addressing all facets of history and issues and Alex Queral's Yes We Can!, another one of his 3D acrylic on carved phone book pieces that must be seen to be believed, as they are difficult to describe the brilliant effect that this artist accomplishes in carving a phone book. See the exhibition online here.
Guilty Pleasures was exhibited in the gallery's rear and lower spaces, and for a show with a "viewer discretion is advised" warning, I was pleasantly surprised to discover that not all of the pleasures were about sex.
In fact my favorite piece in the entire show was Atticus Adams' Love Spasm, a potent wall sculpture that was not only an unique interpretation of the subject, but also had the interesting, and perhaps unintended ability to create very sexy shadows on the wall because of its overhead lighting in Projects' lower gallery. It was also a steal at $250. Call Projects right now and buy this piece.
Atticus Adams. Love Spasm, 11"H x8.5"W x 7"D. Found Objects.
I also liked Brooke Holloway's two drawings and Cara Jung's smart sculptures as well as Jack Thompson's Siamese (Conjoined) Twins. Also quite good were Craig Cully's 49 Kisses, a wall installation of 49 tiny oil paintings and each one a steal at $180 each or $5,000 for all 49 paintings.
Craig Cully. 49 Kisses, 2.5"H x 2.5"W each, oil on panel (detail)
See the Guilty Pleasures exhibition online here.
Finally, here was talk at the show about traveling the Obama-rama exhibition to a few cities, including Washington, DC, and there was also talk from a publisher who came to see the exhibition, about compiling and publishing a book about this show. More on that later.
After the show we walked a couple of blocks to Standard Tap for dinner and brews. I have been there a few times and need to devote some time writing about this superb Philly gem of a bar with a spectacular kitchen. Suffice it to say for now that this place offers some of the best grilled octopus, if not the best, that I have ever tasted. Coming from someone who lived in several Mediterranean countries, that is quite a statement.
More on Standard Tap later; for now, the octopus was delicious, the Lancaster Stout was great and the scallop salad out of this world.
DC gallery to move to Brooklyn
Heather Goss over at DCist has the story on the Randall Scott Gallery move to B'klyn.
Yesterday afternoon the Senate voted for the Coburn Amendment to the massive economic recovery bill and the amendment, which virtually eliminates all art funding from the package among other things, passed by a wide vote margin of 73-24, and included support from many high profile Senators including Chuck Schumer of New York, Dianne Feinstein of California, Barbara Mikulski of Maryland, Bob Casey of Pennsylvania, Amy Klobuchar of Minnesota, Russ Feingold of Wisconsin, and several other Democratic and Republican Senators.
Shepard Fairey arrested
I've been told that artist Shepard Fairey was arrested last night in Boston, where he was for the opening of a show at Boston's Institute of Contemporary Art.
Apparently the arrest was because of warrants due to graffiti tagging of private property.
Clearly the Boston police must know that they just added a huge new publicity boost to Fairey and the ICA show.
Update:Boston Globe says arrest was due to the fact that the "Police said they had warrants on Fairey from last month after he allegedly tagged property in Boston with graffitti based on his Andre the Giant street art campaign."
Friday, February 06, 2009
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."
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.
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.
Thursday, February 05, 2009
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.
Wednesday, February 04, 2009
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
Tuesday, February 03, 2009
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.
...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).
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.
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.
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.
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.
Thursday, January 29, 2009
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.
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 Timeshere.
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
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.
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.
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.
Tuesday, January 27, 2009
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.
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.
Monday, January 26, 2009
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.
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."
"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.
Martin Sullivan Director National Portrait Gallery Smithsonian Institution PO Box 37012 Victor Building–Suite 4100 MRC 973 Washington, DC, 20013-7012
Sunday, January 25, 2009
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.
Saturday, January 24, 2009
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 Davidsonianhere.
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:
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."
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.
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.
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.
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.
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.
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.
“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.
...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.
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.
Monday, January 19, 2009
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.
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.
Sunday, January 18, 2009
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.
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.”
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.
Usually about 600 pieces are donated and hung salon style in the 
