Aqui Estamos comes to Philly

As I've written many times, as result of the decades-long Cuban embargo, the work of contemporary Cuban artists has been noticed for many years by many important museums and curators around the world, but often remains a mystery to American collectors and art enthusiasts. And those who write about the commoditization of art, such as the Wall Street Journal, have been telling art collectors who buy art in the hope those prices will rise, to buy contemporary Cuban art.

The WSJ wrote:

"With art from Asia and Russia in demand, some in the art world are betting on Cuba to be the next hot corner of the market. Prices for Cuban art are climbing at galleries and auction houses, and major museums are adding to their Cuban collections. In May, Sotheby's broke the auction record for a Cuban work when it sold Mario Carreño's modernist painting "Danza Afro-Cubana" for $2.6 million, triple its high estimate.

Now, with a new president in power and some hope emerging for looser travel and trade restrictions between the U.S. and Cuba, American collectors and art investors are moving quickly to tap into the market. Some are getting into Cuba by setting up humanitarian missions and scouting art while they're there. Others are ordering works from Cuba based on email images and having them shipped.

The collectors are taking advantage of a little-known exception to the U.S. trade embargo with Cuba: It is legal for Americans to buy Cuban art."

This suggestion and idea is simple, and has been proven recently by the super hot rise of Chinese artists: when a closed society is opened up a little, its top artists see a substantial rise in exposure and thus in demand, and of course, in prices!

And it makes sense (if you buy art as an investment strategy rather than love of art).

Generally speaking, when an artist is in certain major collections around the world, such as the Museum of Modern Art in New York, the Museum of Fine Arts in Boston, the Tate in London, and other such giants of the museum world, it attracts a certain level of collector interest, and it is almost always associated with a certain price range.

And there are many contemporary Cuban artists whose work has been in those and many other important museums around the world for a very long time, and whose work continues to attract curatorial, critical and savvy collector interest, but because of their lack of exposure to the American market in general (often created by their closed societies), their price range is not in par with their colleagues from other nations in the same level.

Several years ago, almost by accident, I became involved in the curatorial process of contemporary Cuban art, in an effort to help with fundraising efforts by the Havana Hebrew Community Center. Since then I have become an experienced curator in this genre and have acquired a wealth of good knowledge about the artists from that unfortunate and imprisoned island.

Aquí Estamos (Here We Are) is my latest curatorial project and after an initial showing in Norfolk, Virginia, it traveled to to H&F Fine Arts and the Greater Washington, DC region and now travels to Philadelphia's Projects Gallery with an exhibition of recent work by several important Cuban artists working out of Havana as well as Cuban artists from the Cuban Diaspora.

How can this be done?

It’s a brutal, labor intensive touch and go process, as although art and books are the only two items exempt from the Cuban embargo, the heavy hand of the Communist dictatorship that runs everything on that unfortunate nation touches all aspects of life, including the creation and destination of art. Bypassing and escaping the government is not easy, but it can be accomplished if the artist is willing to risk it.

In the works that you’ll see at Projects Gallery we find narratives and imagery that represent many of these artists’ historical dissidence to the stark issues of contemporary Cuban life. The works are images that offer a historical and visual sentence in the history of an island nation behind bars with a powerful world presence in the arts and events of world history.

In Sandra Ramos’ works we see one of the most important contemporary Cuban artists in the world continue to visit themes dealing with racism in her homeland, the physical and intellectual drain caused by mass migration, and other austere realities of daily Cuban life. Ramos uses her body and her figure in many of her paintings and mixed media etchings to narrate the daily issues that confront her life in Havana. In her drawing "Larva," Ramos anticipates a future Cuba where she may be allowed to spread her artistic wings to full capacity, without fear of how her visual imagery may be interpreted by her own government.

Maria Magdalena Campos-Pons, who escaped from Cuba in the early 1990s, also uses her image and body to deliver powerful biographical and observational elements of the realities of being a black Cuban woman in America. She has been called “one of Boston’s most prominent artists,” and as evidence it has been submitted that the Cuban-born artist has shown at New York’s Museum of Modern Art, Minneapolis’s Walker Art Center, the Smithsonian, the Venice Biennale, and many other prestigious venues around the world.

And last year the Indianapolis Museum of Art hosted “Everything Is Separated by Water,” a mid-career retrospective of Campos-Pons’ paintings, sculptures, photos, and installations. And as an Afro-Cuban woman, Campos-Pons has used her cultural and racial background as the initial key theme of her own work, with long ties to her Cuban homeland, but also with a powerful influence of her evolving Americanosity.

"Consume preferably before age 30." Gelatin Silver Print. Cirenaica Moreira
Both Cirenaica Moreira and Marta Maria Perez Bravo also employ their bodies to become the canvas of their photographs, although in each case with a different goal. Moreira has been called “woman as vagina dentata” for the ferocity via which her images depict her themes of loss of freedom, feminism, and being a Cuban woman in a land of unabashed machismo.

Perez Bravo is considered by many to be the preeminent Cuban female photographer in the world, and her work addresses the fabulous rituals and images of Santeria, the unique Cuban mixture of Catholicism and African religions brought to the island by African slaves.

Kcho (Alexis Leyva Machado) is also considered by many to be among the leading Cuban artists in the world, and he first attracted international attention by winning the grand prize at South Korea's Kwangju Biennial in 1995.

Other artists in the show include work by Alejandro Mendoza (winner of the Best in Show 2006. IX Exposición de Arte Latinoamericano y del Caribe, Museum of the Americas) and Alex Queral. Also Roberto Wong, whose powerful paintings develop intelligent ways to showcase ways in which freedom is restricted and Aimeé Garcia Marrero, considered by many to be among Cuba’s most talented new crop of painters. Her technical skills are married to intelligent interpretations of daily Cuban life and even the influences of the giant to the North.

"Concavo" Digital Print by Aimee Garcia Marrero
The opening, free and open to the public is on May 1st, 2009 from 6-9PM. Projects Gallery is located at 629 N 2nd Street, Philadelphia, PA 19123, tel: 267.303.9652 and on the web at projectsgallery.com. The exhibition is open through May 29, 2009.

More on "Achilles Heel"

On my post Achilles Heel a few days ago, I noted the below comments by gallery owner Carrie Horejs:

"I often wonder how other galleries are dealing with artists who have gallery representation but continue to self-promote. I have been known to secret shop gallery represented artists. I contact them through their emails on their personal websites and inquire as to whether they have any studio pieces available. Not once has an artist directed me to his or her galleries for purchases.

I fear galleries will dry up if they don’t smarten up. Then where will collectors go to see art in person?”

The above from comments by gallery owner Carrie Horejs. Read them here.

My good friend and terrific DC area artist John M. Adams, whose show opens at the Greater Reston Arts Center on April 25 added some excellent comments on his blog:

"She has good point, but I have a few questions about her perspective.

I checked out the gallery website, and it is a "membership gallery" - where the more you pay per month, the more you get to show.

That doesn't seem to indicate that it is traditional commercial gallery representation, and yes you have to be accepted, but it does seem to be more of a vanity gallery.

Why would the "rules" of traditional gallery representation apply to them if it's a pay to show situation? As an artist, it seems strange to "pay" for exclusive gallery representation.

My first question is what does their artist contract look like? Does it state that once you join, that all work sold from any venue must include their commission? (It does look like that from their website) That does not seem like a good deal and far from the norm of most exhibition contracts.

In addition, they have over 100 artists on their site, so really how much effort are they putting forth to promote each artist, other than putting them on their website or hanging a piece of artwork in the corner of a jam packed gallery? That's not real promotion. Artists work incredibly hard to publicize their own work. In the bulk of the places I have shown, I brought in the crowds, They are my connections and patrons that have been following my work for quite some time. I have looked around the gallery and realized that 95% of the people there were people I emailed, sent postcards to , etc. These are the people who buy my work.

Now I don't undercut or by-pass the gallery that is showing my work, I want to sell it there. (my experience has mostly been with non-profits and art centers). Most Artists would love to have gallery representation with a Gallery that actually did all of that promotion, I would.

I can understand why she is ticked off and no doubt in a "traditional" gallery representation setting that kind of behavior is just wrong and undermines the artist/gallery relationship, but really, given the structure of her gallery, if someone actually found the person's work in another venue that has nothing to do with her gallery, would the artist be so far off base (once again, I would like to see the contract)?

I would never undermine a gallery owner if I had traditional representation, or created a bunch of work for a show at a venue but then sell the work behind their back, I would of course direct them to the gallery, it only makes sense. Any thoughts? "

John is of course, right on target.

Some comments of my own now... these only apply to the traditional and reputable commercial gallery model, not to vanity galleries, which are in a league of their own.

The key to all secrets here is the contract and how well artists and galleries communicate with each other.

The relationship between a gallery and its artists should always be a complimentary relationship: they both need to work together to ensure that both the gallery and the artist succeed.

An established artist who "hides" his established collector base from his gallery and the gallery which does not give the artist the name and contact info of new collectors who acquire the artist works are really saying to each other: "I don't trust you." The artist is saying "why should I pay you a 50% commission on a sale to a collector that I bring to you, when I can have him come directly to me and I keep the full 100% of the sale? The gallery is saying "why should I give you the name and address of the client that I sold your work to, when all you're going to do in the future is approach him directly to try to sell work to him and bypass me?"

That's a relationship doomed for failure and constant suspicion.

There are galleries which demand citywide, statewide or even worldwide representation of the artists' works. In return the artist should be able to ask the gallery: "what are you doing for me and my work in between the 2-3 years that I have a solo show with you?" The answer for most artists may be a combination of things, such as placement in group shows in other venues, web development, alternative marketing, taking the artist's work to art fairs, etc. For a small group of artists the answer may be that the solo show every 2-3 years does so well in sales, that it keeps the artist a wealthy and happy camper in the interim period.

I know many artists who voluntarily give their art galleries a 10% cut of all sales made by that artist, regardless of the gallery's involvement in that individual sale. In the positive angle for gathering the logic for this scenario is related to the excellent work that the gallery has done over the years in building up the artist's presence in the arts community, is adding to the artist's resume, in placing the artist's works in known collections and/or museums. The opposite would be a gallery which demands a 10% commission on all sales made by the artist, when that gallery does nothing to promote and disseminate the artist's work. See the difference?

That's why contracts and communications are important.

Imagine that you (the artist) gets picked up by the gallery and they offer you a solo show. The gallery then spends a considerable amount of time, effort and money (if they're doing their job right) in promoting your work and giving you and the art an opening reception and then manning the space for a month while your show is up, taking care of rent, salaries and continued communications and arm twisting with curators and newsmedia critics to come see the show. Let's further imagine that, especially in this austere fiscal environment in which we live these days, that nothing sells. At the end of the month, the artist walks away with all his work, and perhaps (if the stars have aligned and the gallery has spent a couple of golden bullets) with a review. In any event, the artist walks away with at least one more line in their resume. Plus all the "invisibles" that are so hard to account for, but also so important in developing an art career. Key amongst these invisibles is the exposure of the work to a diverse set of eyes which otherwise (had it not been for that gallery show), may not have been exposed to the work: collectors, writers, curators, etc.

The potential pay-off (a sale, a review, etc.) may still be years in the future, but the seed has been planted into what at first sight appears to be a failure of a solo. It is only a failure in sales; no solo show is a full failure; it is always in fact, a positive accomplishment - even one with a bad review.

Let's make the above scenario a bit more complex. Now let's say that a couple of months after the solo has closed, a client comes in to the gallery and is still interested in the artist's work, and so the gallery either refers him to the artist's studio or has the artist bring some work to the gallery in order to show it to the client. What happens as far as commissions in either of these two cases?

See what I mean about contracts and communications?

It gets more complex as the degrees of separation between the sale and the relationship between gallery and that sale spread, and that is why it is important for communications to be clear and constant, but more importantly trust.

Years ago, when I was a Sotheby's Associate Dealer, I managed a sale of a painting by a Louisiana artist to a collector in Texas. This all happened online and I never met the collector or even saw the painting in person, but the artist was under contract to my gallery and understood all the various parts of that contract.

Months later, someone visited the collector, saw the painting that I had sold, and liked it. He then contacted the artist directly and explained that he had seen the painting at the Texas' collector's home and was interested in seeing more work.

Question to the readers: If the artist makes a sale directly to this collector, would the artist owe me a commission?

Post some comments and thoughts and then I will tell you what happened and why.

First time

See the first annual internet exhibition of the Art Dealers Association of Greater Washington now through June 30 2009 online here.

Wanna go to a gallery reception in Alexandria tomorrow?

Mellema on art

Kevin Mellema writes about shows, including the Reclaimed show at Target Gallery in Alexandria's Torpedo Factory.

Nice plug for seminal DC area green artists Erwin Timmers and Adam Bradley in the article here.

Campelloing on...

Proud papa bragging on:

People who work with Campello say her desire to take on challenging roles is evidence of another essential quality among successful actors. It’s why she landed a recent role with the Seattle’s 5th Avenue Theatre’s Touring company, and why she has upcoming roles with theaters in Issaquah and Olympia.

“She has a lot of drive,” said Jon Rake, managing artistic director of TMP. “She’s gonna go places. She has a lot of talent. She takes it seriously.”

Read a profile on my daughter Elise Campello by Paige Richmond here.

I'd like to see her audition for some roles in Washington, DC soon.

Before Robinson there was Estalella

We all, not just athletes or baseball fans, owe a tremendous debt to Jackie Robinson. Not only because of Major League baseball integration, but more importantly, because of the significant advancement of race relations worldwide that was the real aftermath of his actions during and after his baseball career. His sacrifices must never be forgotten or diminished, and Robinson was and will always be a hero, not just for Americans, but for mankind.

But sooner or later history must record that he wasn't the first black man to play in the Major Leagues. I've discussed this here before, and have this entire project ongoing on the subject. That website always gets me interesting emails, and in a most recent one I received this terrific poem on the subject:

Roberto Estalella
By Joe Hernandez

Before Jackie Robinson came to the Majors
Roberto Estalella was already there
Before you argue and want to wager
Let the historical facts make you aware

Roberto played for the Washington Senators in 1935
His ancestry were of white and black folks
That is twelve years before Jackie "arrived"
This is the plain truth, this is no hoax

Powerfully built Cuban slugger was he
With a lifetime batting average of .282
Played as an outfielder for all to see
The first black in the Majors that no one knew

How ironic that a black foreigner first played
In the Major Leagues in front of all
This is the truth historians evade
A truth that must be admitted by Major League Baseball

Roberto Estalella broke the color barrier
We need to recognize this and say
Although Jackie was the carrier
Of all the hatred that was on display

But baseball must be honest about its past
With no intention of deceit
This dishonesty cannot last
If it expects to deal with those that cheat

Tell the truth of Roberto Estalella
Jackie Robinson will still have his place
You need to remember this "fella"
And not lie about him or his race

Jackie and Roberto would think of it as a disgrace
That their true story has not been embraced
That they were both of the Negro race
And this lie of who was first must be erased

Laurel Lukaszewski

"When you're working in clay," says Laurel Lukaszewski, "you'd have a tough time if you worry about breakage."

Read the WaPo profile on DC artist Laurel Lukaszewski here.

Achilles Heel

"I often wonder how other galleries are dealing with artists who have gallery representation but continue to self-promote. I have been known to secret shop gallery represented artists. I contact them through their emails on their personal websites and inquire as to whether they have any studio pieces available. Not once has an artist directed me to his or her galleries for purchases.

I fear galleries will dry up if they don’t smarten up. Then where will collectors go to see art in person?”

The above from comments by gallery owner Carrie Horejs. Read them here.

A Window on Fine Craft

Yesterday's Washington Post's Weekend section had the kind of arts coverage that a city can only dream of... it covered the coming Crafts Week DC extravaganza that I mentioned last week.

Details here.

P.S. "The Crafts Whisperer..." (sounds of Lenny laughing...)

Wanna go to a Maryland opening tomorrow?

Opening Reception, Sunday, April 19th, 6-8 PM at Photoworks Gallery, in gorgeous Glen Echo Park, MD. Work by Rob Grant, Gary Jimerfield, and Scott Grant. Through May 17, 2009.


Photoworks Gallery
7300 MacArthur Boulevard
Glen Echo, Maryland 20812
www.glenechophotoworks.org
301-634-2274

And your art for free...

Australian artist Hazel Dooney is celebrating the 500th posting in her cool art blog by giving away a free Dooney original: a small, limited edition, color photographic study from her Lake Eyre series, titled Study for Modern Strategies For Survival : Resized For Mass Consumption.

Each print is stamped, signed, dated and numbered on verso. The image size is around 2" x 3" on 4" x 6" paper. Details here.

Want to win an original Damien Hirst painting?

Only if you are an UK resident... but details here.

Wanna go to a gallery opening in Arlington tonight?


The AAC's Spring solo shows 2009, featuring work by Jason Lee, Joseph Lupo, Gregory McLellan, Christopher LaVoie, and Steve Frost, opens tonight with a reception from 6-9PM.

Wanna go to an opening in Baltimore tomorrow?

If you wear a Che Guevara T-Shirt


Unless it is like the one on the left, you are wearing the image of a man whose own racist writing and actions are full of negative, racist remarks about Mexicans and Blacks and Native Americans.

By the way, "Comemierda" is an almost unique Cuban insult...

Call to Artists: In the Spirit of Frida Kahlo

Deadline: June 6, 2009

Frida Kahlo remains one of the most influential artists of the 20th century, but her spectacular life experiences, her writing and her views on life and art have also influenced many artists throughout the years.

From July 1 - August 29, 2009 The Joan Hisaoka Healing Arts Gallery at Smith Farm Center in Washington, DC will be hosting Finding Beauty In A Broken World: In the Spirit of Frida Kahlo.

This exhibition hopes to showcase the work in all mediums of artists influenced not only by Kahlo’s art, but also by her biography, her thoughts, and her writing or any other aspect in the life and presence of this remarkable artist who can be interpreted through artwork.

This will be the third Kahlo show that I have juried in the last decade and we are seeking works of art that evoke the prolific range of expression, style and media like that which Frida Kahlo used as an outlet for her life’s experiences.

Get a copy of the prospectus by calling (202) 483-8600 or email gallery@smithfarm.com or download it here.

Priceless

Through the wonders of mass emails, I received the below image yesterday:


In the process of trying to identify the source of the image (to give him or her props and credits in the ALT tag), I typed "Priceless" in Google image search and got a ton of these type images.

It's almost like the parody of the Mastercard commercial has spawned a new form of internet art, where the results can be funny, sick, nasty or downright historical.

See them here.

DC Arts Commission Open House

Black Caucusian Bone Picking

I've got a bone to pick with the Congressional Black Caucus members' remarks after their recent trip to Cuba; but first a quote from a source within Cuba:

In primary [Cuban] education, skin colour is not mentioned," ... If we are still living in a society where white people have the power, and we don't mention colour in education, we are in practice educating [Cuban] children to be white.

Cuban history as we teach it is a disgrace, because it is predominantly white history, and explaining the role of black people and mulattoes in building this society and its culture is not given its due importance.

Esteban Morales
University of Havana
Centre for the Study of the Hemisphere and the United States

My bone has nothing to do with President Obama's recent (and curiously announced by his press secretary) monumental decision to change a major visiting policy to the unfortunate Caribbean island prison of Cuba; but first another Cuban quote:

...to carry on "hiding" the issue [of racism in Cuba] would lead black people to think that "they belong to another country, and that there are two Cuba’s as there were in the 19th century, a black Cuba and a white one."

Roberto Zurbano
Director
Casa de las Américas publishing house
Havana

What my bone deals with is the spectacular lack of historical background that the various Congressional Black Caucus (CBC) members' showed when commenting about their meeting with the Castro brothers.

Not that their highly complimentary comments about two bloody, murdering dictators would offend me. It does and it should offend anyone and everyone who loves and admires liberty. One would think that any comments about a nation with one of the world's worst human rights records, where Amnesty International has been denied access to (except to that bit of Cuba where the Guantanamo Naval Base is located); a nation where gay people were once given lobotomies to "cure" them; and where HIV+ Cubans were detained and segregated in guarded colonies away from the general public.

But what really bugs me, in my own pedantic hell, is how a bunch of historically and socially clueless African American legislators would praise the leaders and the government of one of the world's most racist dictatorships, a government which talks a talk of equality while walking a walk of institutionalized racism against its own black population.

Cuba has a long and agonizing history of racial issues, starting with its long bloody history of slavery, which didn't end on the island until 1886, and continuing through its freedom from Spain, birth of the Republic, and the triumph of the Castro Revolution in 1959. It continues to this day.

Cuba even had its own race war.

General Antonio Maceo, known as "the Bronze Titan." He was the true warrior leader of the Cuban Wars of Liberation. His father was white of French ancestry; his mother was black, of Dominican ancestry. After the first Cuban Liberation War ended in a truce with Spain, some say that Maceo was so disillusioned with the realities of life in Cuba as a black man, that he left Cuba and lived in Panama, until he was called back to lead the Cuban rebels in a new rebellion in 1895. He returned to Cuba and was killed in battle against the Spanish Army in 1896.

In 1912, black Cubans in Oriente province had enough of the new Cuban government's racist practices and the degrading treatment of Cuban black veterans, who had been the bulk of the Cuban rebels in the wars of independence against Spain. The Cuban government moved on a path of genocide and eventually the United States had to send in troops to end the war between the white Cuban government and the black rebels in Oriente.

As I recall from the CIA Factbook of 1959, on that year the island was about 70% white, about 20% black and mixed, and the rest Chinese, Jewish and other. The Cuban Diaspora which started a few months after the Castro takeover and continues to this day, with the exception of the Mariel boat lift of the 1980s, saw a mass exodus of mostly white Cubans, and as a result the island's racial balance shifted dramatically to where most people estimate that today the island is about 60% black or biracial.

But Cuba's black population has not seen a proportionate share of the power and a quick review of the governing Politburo/Parliament reveals few black faces in the crowd. In fact, "the Cuban cultural journal Temas published studies by the governmental Anthropology Centre in 2006 that showed that on average, the black population has worse housing, receives less money in remittances from abroad and has less access to jobs in emerging economic sectors like tourism, in which blacks represent barely five percent of managers and professionals, than the white population."

"I think silence is worse. The longer nothing is said, the more the racism fermenting underground is rotting the entire nation..."

Gerardo Alfonso
singer/songwriter
Havana

While the Cuban constitution of the 1940s (since then abolished by the Communist government) outlawed segregation and racism, and the current Cuban Constitution guarantees black Cubans the right to stay in any hotel and be served at any public establishment, as it has been documented by many foreign journalists, black Cubans will tell you in private that those rights exist only on paper.

The harsh Cuban reality today, they claim, is that "black Cubans won't be served" and that Cubans, regardless of race are in general barred from places frequented by tourists.

Unfortunately, these things [disparities in the treatment of blacks and whites] are very common in Cuba.

Ricardo Alarcón Quesada
President of the National Assembly of People's Power
Cuban Parliament

Do these Cuban voices from within Cuba itself sound like the subjects of a government whose murdering tyrants should be hugged and complimented by our African American legislators, in view of our nation's own racial history? Would they hug the criminal government leaders of the apartheid South Africa of the 20th century?

We have practically apartheid in this country sometimes... racism is deeply rooted in Cuba's history and will not disappear overnight."

Rogelio Polanco Fuentes
Director
Cuban Communist Party-owned Juventud Rebelde newspaper.

Shame on you CBC Chairwoman Barbara Lee (D-Ca.), shame on you Rep. Bobby Rush (D-Il.), shame on you Rep. Laura Richardson (D-Ca.), shame on you Rep. Emanuel Cleaver (D-Mo.), and whoever else of you historically ignorant bobos praised the leaders of that unfortunate prison island.

Roadin'

I've been on the road since 4AM on Tuesday morning, and driving in the rain sucks...

Fair use

Richard Prince and his dealer Larry Gagosian have responded to a copyright-infringement suit filed by French photographer Patrick Cariou, saying that Prince's use of Cariou's work falls under "fair use," the Art Newspaper reports.

At issue are 22 paintings in Prince's "Canal Zone" series, which borrow photographs from Cariou's 2000 book Yes Rasta, shot over a decade in the mountains in Jamaica, and combine them with brushwork or pornography. According to Gagosian's filing, eight were sold when they were exhibited at the gallery last November and December, at prices ranging from $1.5 million to $3 million.

Details here.

Bienal de La Habana

All of the action -- the unofficial venues, the public-art installations and sculptures -- coupled with Tania Bruguera's daring performance last week in which Cubans and some foreign visitors took to a podium, clamored for freedom, and mocked the once-sacred figure of Fidel Castro -- make this Biennial, which runs through April 30, one for the books.

''Tania's [performance] has been the most provocative gesture in all of Cuban art history,'' Cuban art critic Hector Antón Castillo says from Havana. ``Any veteran from the 1980s will tell you the same

Read Fabiola Santiago's report on the Biennial here.

Wanna go to a museum opening in DC this week?


Details
here.

Guilty plea

The director of a New York art gallery whose proprietor has been charged with stealing $88 million from investors, collectors and Bank of America Corp. has pleaded guilty to falsifying business records

Details here.

Why don't they?

Lots of arts organizations have blogs on their websites. Most aren't very good, and they're difficult to maintain well. There are many out-of-work critics. And less and less arts coverage in local press. So why not critics-in-residence?

Yeah independence. But let's suspend for a moment the idea that criticism's highest calling is simply to inform consumer choice. If instead the idea is to promote informed and interesting commentary, then who has more of an interest in this than artists and arts organizations? If readers knew that a critic was in residence rather than being paid by a local news organization, they might read the commentary differently, but so what? Would you rather read PR boilerplate that nobody believes or the observations of someone trying to engage with the art, even if they're paid to do so by the institution?

Read Douglas McLennan's excellent point here.

Craft Week DC

From April 22 - 26, 2009 it will be Craft Week DC with major events such as the James Renwick Alliance Spring Craft Weekend “Crafts Around DC: A Capital Celebration!” and the Smithsonian Women’s Committee's Smithsonian Craft Show.

Craft Week DC is organized by Washington, DC area artists, galleries, and the James Renwick Alliance (JRA) to recognize the growing community of artists in the Washington DC area working in ceramics, glass, fiber, metal, and wood.

In a postmodern world where everything is supposed to be art, we stubbornly hang on to the traditional segregation of art vs craft, but from just a quick sampling of what's going to be offered to a DC audience next week, it is certain that the line will be blurred.

There are tons of events and the whole schedule is here.

For Artists: copyright, trademark, and contract issues

Hamiltonian Artists in DC is hosting their next talk in the Artist Speaker Series Tomorrow, Tuesday, April 14, 2009, at 7:00pm at Hamiltonian Gallery.

Copyright questions? Art legal issues? John D. Mason has got your answers! Mason is an art and entertainment attorney and intellectual property attorney at The Intellectual Property Group, PLLC, and is on the Board of Directors of the Washington Area Lawyers for the Arts. He will be discussing legal matters related to art and artists, including copyright, trademark, and contract issues.

Congratulations

My good friend Professor Chawky Frenn is one of the recipients of the Teaching Excellence Award at George Mason University.

Frenn is without a doubt one of the toughest political painters of his generation, and his beautiful classical paintings use the brush of the masters to bring forth devastating political and social commentary on paintings often too controversial (as Dartmouth found out a while back) for galleries and museums to offer in a conventional way.

“The classroom is a place of dialog, learning, trust, and growth. I find in teaching an experimental field to develop strategies that promote critical thinking and creative research. At the heart of my teaching performance is the enthusiasm I share about life, art, and the development of self and identity. My comments bridge the understanding of art and life, and my critiques provide intellectual and emotional insights into the purpose, meaning, and value of self-discovery and development through one’s art and work.

I am fortunate to do what I love: teaching and painting. I am also fortunate to work with amazing students with diverse disciplines, cultures, goals, and passions. Their creativity and commitment continue to inspire the best in me.

I present the award to my students, my teachers, my family, and my friends who believed in me when I could not believe in myself. As a teacher, I am a gardener who nurtures and cares for the seeds and passions in my students’ soil. I encourage and help them to develop and grow and bear their finest fruits.”

- Chawky Frenn

New York art dealer accused of being Bernard Madoff's middleman

A prominent New York financier and art collector, Ezra Merkin, has been charged with a $2.4bn fraud for collecting money from clients under false pretences and secretly handing it to the jailed fund manager Bernard Madoff.

Read the NYT story here.

2009 Guggenheim Fellowship Winners Announced

The John Simon Guggenheim Memorial Foundation has announced the recipients of the 2009 Guggenheim Fellowships.

Ranging in age from 29 to 70, the hundred and eighty U.S. and Canadian artists, scientists, and scholars were selected from a group of almost three thousand applicants on the basis of outstanding achievement and exceptional promise for continued accomplishment.

For a complete list of this year's fellows, visit the Guggenheim Foundation Web site here.

Artists Websites: Sophie Tuttle

Sophie Tuttle is one of those hard-working artists who puts her creative energies into every facet of art: sculpture, drawing, painting, photography, illustration, etc.


You can check out her stuff online here or see it in person at the Warrenton Wine and Arts Festival in Warrenton, VA. There are going to be lots of artists selling their work and prints there (including Sophie)... in fact they're still looking for artists, so contact them if you are interested. It's allfor a good cause (benefiting St. John's School). It's going to be on April 25th and 26th and details are here.

The Gray Arm of the Law

If you take a photograph in a public place, and then publish it commercially, can the people in the photo successfully sue?

See the answer (or lack thereof) here.

Painting Bread Correctly

If you ask the guards at the NGA which painting in the collection they think is the most popular, often you will hear many of them point out Dali's The Sacrament of the Last Supper.

"People are always asking 'where is it?'"

The reason for this could be that the Last Supper, in a typical act of perhaps arrogance, for many years was hung in the NGA's coat check room, and currently is at the exit of the old wing, just before the connecting tunnel to the newer East wing.


I say arrogance because I once asked a guard (often the best sources of info in any museum) the reason for the placement. "This wing is for masters," he said, "and this Dali painting was donated to the NGA as part of the Dale Bequest in the 1960s, but with the condition that it had to be placed with the old masters."

The NGA complied, but couldn't or wouldn't cross the line and instead of hanging the Dali in one of the galleries, for years hung it in the coat room, where it attracted too many crowds and made that room a mess, and subsequently moved it to its present location, technically in the West building, but not really "in it."

A few years ago I asked the NGA for confirmation of this story, but my request was never answered.

But this post is not about Dali or the NGA, but about most "Last Supper" paintings that I recall seeing. More specifically about the bread in the paintings.

This week I was invited to a Seder meal by a friend who is also quite a well-known Philly area artist and an even better known curator. Somehow the conversation turned to Christ's Last Supper, which of course was a Seder meal and she observed how most paintings depicting The Christ's last meal showed regular bread instead of the unleavened bread required by Jewish tradition to celebrate the passover.

This is very interesting to the pedantic part of me, already troubled by the fact that nearly every depiction of The Christ that was presented to me in art school depicted mostly Northern European-looking Christs, rather than the Semitic Middle East Israelite that He was.

And now I wonder, are there any contemporary depictions (or any depiction) of the last supper which depict this last Seder for Christ in a more historically correct perspective? I want to see The Christ as a Semite and I want to see the middle of the matzot on the Seder plate broken in two with the larger piece hidden, to be used later as the afikoman.

Artists' Websites: Denee Barr

Denee Barr is a fellow art blogger and an award winning and very hard-working Maryland photographer.

Aquarium, Baltimore Inner Harbor, Maryland, by Denee Barr

In she was a 2003 Maryland State Arts Council Individual Artist Award Grant Recipient for artistic excellence in photography. In 2006 Two photographic images captured on Kent Island, Maryland's Eastern Shore inducted into the Heart of DC: John A. Wilson Building City Hall Public Permanent Art Collection (3rd floor east), Washington, DC. Also in 2006 Denee Barr received the 1st Place Award in Bethesda, Maryland at the Washington School of Photography/Washington Photography Gallery 4th National Photo Competition for images captured in New York City. In 2007 the DC Commission on the Arts and Humanities purchases two photographic images captured at Adkins Arboretum for the DC Commission on the Arts and Humanities Public Art Bank Collection.

Visit her here.

No hot sauce allowed

When I was in my late teens, my parents took their first ever (and only one as far as I know) vacation, and went to Mexico City for a couple of weeks. They liked it so much that they ended up staying almost a month and I joined them for a week.

Besides my well-documented discovery of Frida Kahlo during that trip, I also recall my dad's first ever exposure to Mexican food.

There are many people in this great nation who (if you live in any American state except Florida, New York and New Jersey) think that all of Latin America is like Mexico, both in culture, appearance and culinary offerings.

Of course, nothing can be farther from the truth, and (for example) Argentina is as different from Mexico as Italy is different from South Africa. In fact, most of the twenty or so nations south of the border and in the Caribbean are not only vastly different from its two giant northern neighbors, but also quite different from each other.

And their national cuisines are also quite different. Not everyone in Latin America eats tacos, and if you order a couple of tortillas in Cuba, you'll get two omelets and an odd look at your excessive dining peculiarities.

Anyway, I recall my father working his way through the menus in his discovery of Mexican food, from his first experiments with huevos rancheros, the subsequent alarm at the heat of the hot sauce, followed by a trip to the restaurant's bathroom to rinse his mouth, to his delight in discovering the less fiery carne asada and carnitas.

If you read this blog regularly, then you know what a pedantic geek I can be at Hollywood's barbarity when it comes to cultural stereotyping (this one is the worst one ever). And these days, through the wonders of FiOs and DVR digital recording, I more often than not find myself in pedantic hell.

You see, I have my DVR set to record programs keyed on a variety of keywords, one of them being Cuban cooking.

Recently, my DVR picked up a segment of Louisiana chef Emeril Lagasse's entertaining cooking show. It was focused for that day on Cuban food.

He showed his audience how to cook a fish, ropa vieja and pork chops. And the processes involved in those three dishes seemed authentic enough, until the hot sauce came out for all three recipes.

I don't watch Emeril often enough to know if this Louisiana native resident puts hot sauce on all his dishes, and if he does, then maybe it's a Louisiana thing.

Perhaps he puts hot sauce on pizza, and matzoh ball soup and haggis, etc.

But no authentic Cuban recipe calls for the fiery, Louisiana or Mexican or Texan style hot sauces that brings tears to your eyes, torments to your tongue and sends Cuban men rushing to the bathroom to rinse their tongues.

So if you ever see that show, and follow the recipes, skip the hot sauce for an authentic taste, and then add it after a few bites, if you want to Mexicanize your ropa vieja.

Wanna go to an opening at Alexandria tonight?

Reclaimed, an exhibition at Alexandria's Target Gallery focuses on everyday common objects that are reclaimed, recycled, reinterpreted and transformed into art.

From Marcel Duchamp’s “ready-mades” to Robert Rauschenberg’s “combines”, artists have been for years recycling and reclaiming everyday common objects and transforming them into something new and unique. This exhibition was open to all artists nationally and internationally to submit work that has been reclaimed and transformed into their own personal artistic statement. The jurors for this exhibition are gallery owners and collectors, a husband and wife team, my good friends Steven and Linda Krensky.

The opening reception is tonight, April 9, 6-8pm and there will be a gallery talk at 7pm.

Out of this world

On April 11:

"This event incorporates a gallery show, music, and performance as a gateway to celestial celebration."

Details here; artwork by:

Chris Bishop
Stephen Blickenstaff
Scott Brooks
Chis Chen
Jared Davis
Alan Defibaugh
Dana Ellyn
Elstabo
Greg Ferrand
Todd Gardner
Linas Garsys
Emily Greene Liddle
Peter Harper
Rob Lindsay
Marina Reiter
Bill Remington
Dave Savage
Matt Sesow
Jon Shipman
Jason Snyder
Steve Strawn
Andrew Wodzianski

Fufú: This is how you do it

That image to the right is not a banana, but a plantain (in Spanish platano).

The plantain is most commonly eaten as a side dish in many Latin American cuisines, where it is simply boiled and then served as a side dish with perhaps a little olive oil and salt to add some flavor, especially if it's a green plantain, which are rather tasteless by themselves. The ripe ones are quite tasty and sweet, and are usually served sliced and fried.

A few years ago you could only find them in Latin American bodegas, but now most major supermarkets carry them.

But let's look at the green plantain. In most Latin American restaurants where it is offered, it is offered as a boiled side dish. In Cuban restaurants (and many Miami art galleries) it is also served as tostones, which essentially involves slicing up the plantain, frying it in olive oil for a while, taking it out and crushing it, and frying it again. Add salt and you're done.

But Fufú is the real king of plantain dishes and it is rarely seen in any restaurants, even Cuban ones. I think that maybe it is because Fufú possibly developed in the eastern part of Cuba (a province once called Oriente), and it may not be as well known or served in Havana, which is the only place that most tourists visit.

With its massive forests and mountains, a large African population from Spain's terrible slavery trade, coupled with its large French immigrant population which migrated to Cuba after the Haitian independence wars, and its concentration of Galician, rather than ethnic Castillians, Catalans, or Andalucian Spaniards, Oriente evolved into a very distinct region in Cuba, quite different from Havana and the other Cuban provinces, and so did its cuisine.

Oriente is where Bacardi rum was invented, and where Hatuey beer was created, and where the mojito and Daiquiri were invented... get my drift?

And in Oriente the humble plantain is eaten as a very delicious side dish called Fufú, with the accent in the last "u" like in Hai-ku.... foo fú!

Start with a couple of green plantains. Wash then and cut out the tips of the plantains but leave the skin on.

Cut the plantains into three equal pieces per plantain and bring to a boil in water and boil for a few minutes until the green skins start to peel away.

While they are boiling, in a frying pan heat a generous dose of olive oil with a seasoning dash of salt and pepper (or Goya Sazon is you really want some exotic spices).

Add chopped fresh garlic and chopped (very small pieces) onions to the hot olive oil and fry the garlic and onions; lots and lots of garlic.

While the onions and garlic fry (don't overcook), the plantains should be ready, so pull them out, throw away the green skins and put the cleaned hot plantains on a large flat plate and mash them as you would do for mashed potatoes, but not to an extreme - they should be lumpy.

Once they are broken up some, add the frying pan mixture of oil, garlic and onions and mash it all into the plantain mixture.

Salt to taste and this culinary work of art is ready to eat!

Opportunity for Artists

Deadline: May 15, 2009 5 P.M.

Boston's Fort Point Arts Gallery is seeking proposals for 2009 group shows and performances. Proposals are open to all media and shows will be selected by guest juror, Heidi Kayser, the founding director of both the Axiom Center for New and Experimental Media and the newly formed Art Technology New England Consortium.

Submissions are due at the gallery by 5pm on May 15th.

You can email questions to: gallery@fortpointarts.org.

Robin Rose

In each major city around the world there are a limited number of artists in that city's art scene who can be best described as "firsts among equals," in the sense that their presence and influence goes beyond just being a painter or a sculptor, etc. to being a major part of that city's art tapestry.

Such an artist for the Greater Washington, DC region is Robin Rose, and although I haven't seen the show yet (but I will), I am hearing some good things as well as surprise, from his current show at The American University Museum at the Katzen Arts Center.

Titled Robin Rose: Cypher, the exhibition opens today, and there will be an artist's reception on April 23 from 6-9PM. The show will remain on view through May 17, 2009. The show at AU is concurrent with Robin Rose: Endeavor at Hemphill Fine Arts, which represents the work of Robin Rose.

The reason that his AU show is raising eyebrows from those who have seen it (someone described it to me as "out of the box!") is that what AU has on display (described as "aggressively altered found object assemblages") is so different and so very far from Rose's well-known and beautiful abstraction, that people are doing a double take.

I am also told that a lot of it is just plain funny!

I have never hidden my opinion that artists should always explore all facets and experiences and visual offerings of their artistry, rather than just deliver cookie-cutter art based on one concept.

I love seeing a single Mondrian, but lose interest when I see a dozen of them all in one room.

The way to see Robin Rose in the next few weeks is to visit his show at AU to discover this new side of this influential artist, and then drop by Hemphill Fine Arts to see what's new with his well-known encaustic on aluminum panel paintings.

Wanna go to a Bethesda opening this Friday?

Award winning artist Kristy Simmons opens her solo art show, Inklings to showcase her latest paintings exploring the intersection of the material world with virtual, or nonmaterial, reality. Thin glazes of underpainting are overlaid with thick brushstrokes, applied to both canvas as well as sheets of plexiglass on top of canvas – to give the audience the "inkling" of their combined and interdependent existence.

Orchard Gallery
7917 Norfolk Avenue
Bethesda, MD 20815

Orchard Gallery located at 7917 Norfolk Avenue. The opening reception is April 10, 6 – 8:30pm, and is part of Bethesda's monthly "Arts Walk."

Wanna go to an opening at UM tomorrow?

The University of Maryland's Stamp Gallery has an opening of the first ever solo show by Ding Ren.

Titled Here/There, the show is curated by Megan Rook-Koepsel and Jennifer Quick. Exhibition Dates: April 8 - May 6, 2009.

Opening reception: Wednesday, April 8, 6-8pm (with performance by Ding's band, Bible Kiss Bible.

You gotta listen to this

Amazing musical videoworks! Let it play at leat a minute... you'll be hooked: Click here.

NGA Partnership Encourages Children Artists

By Prelli Williams

Last March 5, it seemed that the National Gallery of Art moved to J.C. Nalle Elementary School in Southeast Washington as attendees marveled at the student Art exhibition of clay sculptures created by fifth grade students while the fourth graders recited Haiku poems as they stood beneath Drip paintings in the main corridor.

Principal Kim Burke said that a team of fifth grade teachers had submitted a proposal to the NGA, then the school was interviewed, and were finally selected out of eleven other schools that went through the process leading to a partnership between J. C. Nalle Elementary School and the National Gallery of Art.

Sara Mark Lesk, Coordinator of Art Around the Corner said that Nalle students visited the National Gallery of Art multiple times to experience works of art, develop their critical thinking skills through active looking, and explore creativity through art making. All lessons complied with the DCPS curriculum.

Student Brianna Hooks delivered the Welcome Address and the Gallery teachers presented certificates to eighty-six fourth and fifth grade participants. “This is awesome,” said Prelli Williams of Ward 7 Arts Collaborative to teachers Ms. Jones and Ms. Preston as Dr. Buaful, Ms. Staffer, Ms. Surles watched the fifth grade perform “A Day at the NGA” inspired by Art Around the Corner, and directed by Ms. Bailey.

A family activity making Clay Creatures ended with a dessert reception. The Mark and Carol Hyman Fund, The Mead Family Foundation, and the Janice H. Levin Fund made Art Around the Corner possible.

First Rocky, now...

A corner of Philadelphia's Ben Franklin Parkway lost all of its Alexander Calders this week.

For more than four years, sculptures by the inventor of the mobile adorned the grassy, tree-dotted Calder Garden bordering 22d Street - a two-acre plot once eyed for a Calder museum.

A few years ago, 11 works - 10 stationary ones called stabiles and a hybrid with a movable top - were scattered there.

As of Sunday, seven remained, including the bright-orange Jerusalem Stabile.

Yesterday morning, the last piece was carted away, and the Calder Garden was no more.

Read the Peter Mucha Inky story here.

Do this: lottoHEART

Deadline to register: April 10th, 2009

CAMP Rehoboth in Delaware is an awesome GBLT advocacy group has grown up from a grassroots effort reacting to a health epidemic to a powerhouse fighting for human equality.

For the eighth year, my good friend Sondra Arkin is the co-chair of their annual art event and they’ve made some big changes this year! And both her and I are inviting you to be part of this project.

We are asking Mid-Atlantic artists we admire to create two original, postcard-sized (5" x 7" exactly) works in any medium. All works are donations and will be sold for $100 — the catch is that your identity will not be known by the buyer until after the purchase. Also, the order in which a buyer gets to select their art is random and will be pulled off as part of a lively night of entertainment. One piece goes into the LottoHEART where the buyers select at the event (July 3rd), and the other will go into our Blind Date group (literally wrapped and random) for buyers who might not want to choose or who may not be able to come to the event.

While the exhibition is anonymous, they will heavily publicize the names of the participating artists and provide a web catalog immediately following the event. There is no theme — just stick to the size restriction. To help with this, they will provide you with two 5 x 7” hardboards free of charge if you would like. Please indicate that you would like them on your registration form or in your registration email.

You may mail or fax in the form or register at this website.

The deadline for registration is April 10th — but since the project is limited to 200 artists, I urge you to sign up today. Your work is due by June 15th.

If you have any questions, please feel free to contact Sondra at (202) 588-1764 or at heart@camprehoboth.com.

Review of my last curatorial task

"Even in the world of visual art — where originality is routinely faked or manufactured when it cannot be had by honest means — the Cuban-American artist, critic and frequent National Public Radio commentator cuts an unusually distinctive figure.

You can hear it in the streetwise mix of Latin and Brooklyn cadences with which the former Navy man — whose career included stints as both an officer and an enlisted man — sizes up and translates high-art themes in his thoughtful videos and radio narratives. You can trace it in the muscular leaps of taste and logic found in his pioneering art blog, where the one-time student of the great African-American artist Jacob Lawrence and devotee of visionary Mexican painter Frida Kahlo shows he's capable of embracing old-school aesthetic values, a populist kind of viewer's stance and the contemporary fondness for quirkiness in the very same sentence.

You can also see it in the 19th Annual Mid-Atlantic Art Exhibition at Norfolk's d'Art Center, where Campello's online prominence and long experience as a juror drew nearly 625 entries from 17 states, then distilled them into a formidable show of 61 pieces."

Art critic Mark St. John Erickson reviews Norfolk's D'Art Center's annual Mid Atlantic Competition and has some very nice things to say about both the exhibition and yours truly. Read it here.

The Declaration of Arbroath

Americans have not been the only people who have fought English armies for independence. England's own neighbor to the North, Scotland (where I lived for three years and visit often and love dearly) has fought English aggression for centuries.

Today marks the 1,690th anniversary of the Declaration of Arbroath, or the Scottish version of their Declaration of Independence, dated the 6th of April of 1320. It is addressed to the Pope:

To the most Holy Father and Lord in Christ, the Lord John, by divine providence Supreme Pontiff of the Holy Roman and Universal Church, his humble and devout sons Duncan, Earl of Fife, Thomas Randolph, Earl of Moray, Lord of Man and of Annandale, Patrick Dunbar, Earl of March, Malise, Earl of Strathearn, Malcolm, Earl of Lennox, William, Earl of Ross, Magnus, Earl of Caithness and Orkney, and William, Earl of Sutherland; Walter, Steward of Scotland, William Soules, Butler of Scotland, James, Lord of Douglas, Roger Mowbray, David, Lord of Brechin, David Graham, Ingram Umfraville, John Menteith, guardian of the earldom of Menteith, Alexander Fraser, Gilbert Hay, Constable of Scotland, Robert Keith, Marischal of Scotland, Henry St Clair, John Graham, David Lindsay, William Oliphant, Patrick Graham, John Fenton, William Abernethy, David Wemyss, William Mushet, Fergus of Ardrossan, Eustace Maxwell, William Ramsay, William Mowat, Alan Murray, Donald Campbell, John Cameron, Reginald Cheyne, Alexander Seton, Andrew Leslie, and Alexander Straiton, and the other barons and freeholders and the whole community of the realm of Scotland send all manner of filial reverence, with devout kisses of his blessed feet.

Most Holy Father and Lord, we know and from the chronicles and books of the ancients we find that among other famous nations our own, the Scots, has been graced with widespread renown. They journeyed from Greater Scythia by way of the Tyrrhenian Sea and the Pillars of Hercules, and dwelt for a long course of time in Spain among the most savage tribes, but nowhere could they be subdued by any race, however barbarous. Thence they came, twelve hundred years after the people of Israel crossed the Red Sea, to their home in the west where they still live today. The Britons they first drove out, the Picts they utterly destroyed, and, even though very often assailed by the Norwegians, the Danes and the English, they took possession of that home with many victories and untold efforts; and, as the historians of old time bear witness, they have held it free of all bondage ever since. In their kingdom there have reigned one hundred and thirteen kings of their own royal stock, the line unbroken a single foreigner.

The high qualities and deserts of these people, were they not otherwise manifest, gain glory enough from this: that the King of kings and Lord of lords, our Lord Jesus Christ, after His Passion and Resurrection, called them, even though settled in the uttermost parts of the earth, almost the first to His most holy faith. Nor would He have them confirmed in that faith by merely anyone but by the first of His Apostles -- by calling, though second or third in rank -- the most gentle Saint Andrew, the Blessed Peter's brother, and desired him to keep them under his protection as their patron forever.

The Most Holy Fathers your predecessors gave careful heed to these things and bestowed many favours and numerous privileges on this same kingdom and people, as being the special charge of the Blessed Peter's brother. Thus our nation under their protection did indeed live in freedom and peace up to the time when that mighty prince the King of the English, Edward, the father of the one who reigns today, when our kingdom had no head and our people harboured no malice or treachery and were then unused to wars or invasions, came in the guise of a friend and ally to harass them as an enemy. The deeds of cruelty, massacre, violence, pillage, arson, imprisoning prelates, burning down monasteries, robbing and killing monks and nuns, and yet other outrages without number which he committed against our people, sparing neither age nor sex, religion nor rank, no one could describe nor fully imagine unless he had seen them with his own eyes.

But from these countless evils we have been set free, by the help of Him Who though He afflicts yet heals and restores, by our most tireless Prince, King and Lord, the Lord Robert. He, that his people and his heritage might be delivered out of the hands of our enemies, met toil and fatigue, hunger and peril, like another Macabaeus or Joshua and bore them cheerfully. Him, too, divine providence, his right of succession according to or laws and customs which we shall maintain to the death, and the due consent and assent of us all have made our Prince and King. To him, as to the man by whom salvation has been wrought unto our people, we are bound both by law and by his merits that our freedom may be still maintained, and by him, come what may, we mean to stand.

Yet if he should give up what he has begun, and agree to make us or our kingdom subject to the King of England or the English, we should exert ourselves at once to drive him out as our enemy and a subverter of his own rights and ours, and make some other man who was well able to defend us our King; for, as long as but a hundred of us remain alive, never will we on any conditions be brought under English rule. It is in truth not for glory, nor riches, nor honours that we are fighting, but for freedom -- for that alone, which no honest man gives up but with life itself.

Therefore it is, Reverend Father and Lord, that we beseech your Holiness with our most earnest prayers and suppliant hearts, inasmuch as you will in your sincerity and goodness consider all this, that, since with Him Whose Vice-Regent on earth you are there is neither weighing nor distinction of Jew and Greek, Scotsman or Englishman, you will look with the eyes of a father on the troubles and privation brought by the English upon us and upon the Church of God. May it please you to admonish and exhort the King of the English, who ought to be satisfied with what belongs to him since England used once to be enough for seven kings or more, to leave us Scots in peace, who live in this poor little Scotland, beyond which there is no dwelling-place at all, and covet nothing but our own. We are sincerely willing to do anything for him, having regard to our condition, that we can, to win peace for ourselves.

This truly concerns you, Holy Father, since you see the savagery of the heathen raging against the Christians, as the sins of Christians have indeed deserved, and the frontiers of Christendom being pressed inward every day; and how much it will tarnish your Holiness's memory if (which God forbid) the Church suffers eclipse or scandal in any branch of it during your time, you must perceive. Then rouse the Christian princes who for false reasons pretend that they cannot go to help of the Holy Land because of wars they have on hand with their neighbours. The real reason that prevents them is that in making war on their smaller neighbours they find quicker profit and weaker resistance. But how cheerfully our Lord the King and we too would go there if the King of the English would leave us in peace, He from Whom nothing is hidden well knows; and we profess and declare it to you as the Vicar of Christ and to all Christendom.

But if your Holiness puts too much faith in the tales the English tell and will not give sincere belief to all this, nor refrain from favouring them to our prejudice, then the slaughter of bodies, the perdition of souls, and all the other misfortunes that will follow, inflicted by them on us and by us on them, will, we believe, be surely laid by the Most High to your charge.

To conclude, we are and shall ever be, as far as duty calls us, ready to do your will in all things, as obedient sons to you as His Vicar; and to Him as the Supreme King and Judge we commit the maintenance of our cause, csating our cares upon Him and firmly trusting that He will inspire us with courage and bring our enemies to nought.

May the Most High preserve you to his Holy Church in holiness and health and grant you length of days.

Given at the monastery of Arbroath in Scotland on the sixth day of the month of April in the year of grace thirteen hundred and twenty and the fifteenth year of the reign of our King aforesaid.

Freedom does not come easily.

For this Tuesday

There are some great works of art at some very low starting bids at the Habatat for Healing Auction to raise funds for the Leukemia & Lymphoma Society.

It all started online April 1st at 12:00 p.m. and runs through April 7th at 5:00 p.m. and you can view the artwork and bid now. Details here.

On Tuesday there is really going to be a great kick-off event. Besides Healthy Chocolate, Complementary Valet, Complementary Markers Mark Whiskey, and Wine by Delfosse Vineyard & Winery, they will have some really awesome silent auction art, other items and raffle prizes by Capital Grille, Sakura Steakhouse & Markers Mark among others, and the first 10 women through the door receive gift bags by Shea Terre Organics. Details here.

You can bid on my donation (see below) here.

Woman Jumping into the Void. Charcoal on Paper. 11x14 inches framed.
F. Lennox Campello, c. 2009.

Artists' Websites: Jenny Mullins

Jenny Mullins received her BFA in Studio Art from The University of Texas at Austin. She has studied at the Arrowmont School of Art, the cultural center for the arts at Santa Chiara, Italy, and later at the Vermont Studio Center.


She just finished her MFA in the Hoffberger School of Painting at MICA in Baltimore. Her meticulous, miniature drawings and large scale paper installations depict dense worlds of mythological beasts. The often comedic characters explore the dynamics of a dysfunctional human society. Gallerists and collectors can contact her here.

Wanna go to an opening in Baltimore tomorrow?

Loyola College in Maryland’s Julio Art Gallery will host its annual student exhibition from Monday, April 6 – Wednesday, April 22. An opening reception will be held on April 6 from 4 – 6 p.m.

We're huge fans of student art, and this exhibit, the year’s most anticipated event for students and faculty in Loyola’s fine arts department, features more than 150 photographs, paintings, collages, ceramics and other works created by undergraduate students.

The gallery is open Monday – Friday from 11 a.m.–5 p.m. and Sundays from 1–4 p.m. It is closed on all university holidays. For more information, phone Gallery Director Kay Hwang at 410-617-2799.

MICA Thesis Exhibitions

I'm a big supporter of student art and the MICA Thesis Shows are some of the best places to discover new talent.

The next set of openings take place on Friday, April 10, 2009! The reception is from 5-7 PM in the Decker Gallery at MICA. Please come and enjoy good food, good company and good art at the Decker Gallery. While there check out Jenny Mullins' work.

Caterpillar installation by Jenny Mullins
Decker and Meyerhoff Galleries will be filled with work of graduating MFA students in the Hoffberger School of Painting, Photo, New Media, Graphic Design and The Rhinehardt School of Sculpture.

In addition, there are Thesis talks on Wednesday April 15th beginning at 1:00 PM in the Decker Gallery. Details here.

5 - 7 pm, Friday, April 10, 2009!
MICA, Decker Gallery .
Show Dates: April 10, - April 21, 2009.

Congrats

To my good friend Sara Pomerance, whose film screens tomorrow at 6PM at Anthology Film Archives in NYC.

Wanna go to a whole bunch of openings in DC tonight?

In fact you can go to a whole bunch of them, as it is First Fridays and the Dupont Circle area galleries are having their openings and extended hours.

While there make sure that you check out the Caos on F Street gallery collective to see David Harp: Photography, Michael Berman: Mixed Media and Matthew Falls: Furniture.

Also "A Cast of Characters" - A survey of kiln cast and lamp worked glass as seen by the instructors and studio artists of the Washington Glass School. Reception tonight, Friday, April 3, from 6 to 8 pm at Foundry Gallery (1314 18th Street, N.W., 1st Floor, between Massachusetts and N Streets, just off Dupont Circle).

Dawson on Space Unlimited

"Space, Unlimited" shows us just how terrifying it is to be an artist right now.

In nearly all the show's pieces -- and there is one self-assured exception -- we sense a waking terror at the long shadow of art history. With so many Titians and Mondrians behind us, how to carve the road forward? Beat them or join them?

Read Jessica's review here and then go to the lecture by my good friend and co-curator Laura Roulet on Sunday, April 5 starting at 3PM at the Art Museum of the Americas, located at 201 18th Street, NW in DC.

I'm not really terrified by the way...

Spring Break in NYC

By Robin Tierney

Here’s a cure for cabin fever: a recession-priced escape to Manhattan.

Look for a discount fare on the Amtrak Acela (tip: board the no-cellphone “Quiet Car”). Rate-surf for the New Yorker Hotel, an architectural classic one block from Penn Station. It completed a massive renovation in time for the economic bust, so you can get a bargain and colossal views. Next, buy a $74 CityPass that gets you VIP admission at a bunch of iconic venues, and a $7.50 FunPass for 24 hours of unlimited subway riding on days you don’t feel like walking, although walking’s easy from this central location.

Now, some quick takes from my long weekend of art-spotting.

Big venues are scrambling more than ever to lure more visitors. The Metropolitan Museum of Art hit the bell with its new “It’s Time We Met” ad campaign built on photos submitted by museum-goers. Winners got a couple hundred bucks and an annual pass. So if you dream of having work shown at the Met, instead of slaving over a hot canvas just click some whimsical scenes with your cellphone.

So I shouldn’t have been surprised when security sentry Guy Anglade told me that visitors have asked which way to the “We Met at the Met” exhibition. Anglade shook his head: “Forget Carravaggio, where are the Flickr photos?”

"Six-year-old emulating Edward Hopper! His own choice, said his mother."
By Robin Tierney
The supersized images are plastered on billboards, buses and fencing in front of the museum. Evidently in the social media age, there’s an unquenchable thirst for acts of cuteness executed against fine art. Imagine your life’s work functioning as a background for goof-shots.

One special exhibition revisited the debate that won’t die: “is photography art?” “Walker Evans and the Picture Postcard” arrested scores of onlookers during my visit with its documents of Americana arcana culled from the photographer’s collection of 9,000 postcards. For most of the cards, the photographers remain unknown, but several of Walker’s own postcard creations are on view. Through his 1936 experiments, he taught himself to crop for maximum clarity and intensity. Walker then worked decades to free this humble genre from the pigeon-hole of nostalgia and get respect as an art form.


Walker Evans (American, 1903–1975) View of Easton, Pennsylvania (variant), 1935 Postcard format gelatin silver print 8.6 x 13.7 cm (3 3/8 x 5 3/8 in.)
Whatever you call them, their allure overpowers: viewers studied b&w and hand-colored portraits of beach towns, main streets, train depots, river ports, windswept cliffs, hometown jubilees, fan-dancers, sanitarium patients. The alchemy of documentary and lyricism includes original Coney Island amusements (“Atlantis, the Sunken City”), San Francisco’s Valencia Hotel vaulted out into the street by an earthquake, even an electric chair at Sing Sing prison.

The postcard exhibition closes May 25; check out curator Jeff Rosenheim’s terrific catalog.

Across the hall, I caught the final day of “Reality Check: Truth and Illusion in Contemporary Photography.” Interesting selections included faux-to-journalist David Levinthal’s staged battle using toy soldiers, flour and plastic bags shot using a very narrow depth of field. Mark Wyse documents a squirrel ignored in the road after falling to his death in his “Marks of Indifference” series.

Downstairs, “Pierre Bonnard: The Late Interiors” offered an opportunity to observe the graphic shorthand of dots, dashes, loops, spirals and zigzags the modernist used to record images and to compose paintings.

Make time to meander in Central Park.

Just south of the park you can overdose on eccentricities all day at MoMA (AKA the Museum of Modern Art). Sleep-deprived, I lacked the patience to mine for meaning in the temporary exhibitions that left me plagued by an earworm of “You Gotta Have a Gimmick” (from “Gypsy”). Such as Klara Liden’s projects, partly due to the medium designation of “interventions.” And a performance artist’s self-imposed year-long confinement to a cell. “Four Decades of Contemporary Art” felt like a Target commercial on drugs.

The ennui evaporated once I remembered to fetch my MoMA audio tour.

It’s worth scaling the steps for the survey spotlighting Martin Kippenberger, who has lambasted the vagaries of modern culture in nearly every medium. Consider “Psycho buildings” and the sprawling recession-ready installation presenting job interview as sporting event, complete with bleachers and cheerleaders.

MoMA admission gets you a free all-day ticket to use when you wish at P.S.1, the contemporary/indie art haven two subway stops east in Queens.


"Cheerful New York Graffiti in Building near P.S. 1"
By Robin Tierney
Speaking of gimmicks, even art-grumps might crack a smile at the swimming pool that mixes false bottom with false illusions. Darker spectacles play out on dual-sided screens showing Kenneth Anger’s surrealistic brain dumps. His lyrical 40s-style b&w “Faux D’Artifice” held me spellbound while others crowded before flickering frames of Coney Island biker escapades in “Scorpio Rising.”

Jonathan Horowitz commanded a bunch of spaces with jarring works in a range of media. Player piano playing songs from the Who’s “Tommy” paired with disturbing clips from “The Miracle Worker” and other movies. Commentary amusing and sinister about politics and celebrity, the universal appeal of violence and scandal, and imperialism as foreign policy and entertainment from the Roman Empire onward. It’s interesting. Really.

Watching Yael Bartana’s videos of vehicles eerily coming to a stop on a dark highway made me contemplate the narcotic effect of film, especially after I nodded off for an uncertain duration until a lady guard told me it was closing time.

Here comes a mini blockbuster

From the PMA:

Celebrating the extraordinary life and work of Andrew Wyeth (1917-2009), this installation consists of two paintings and seven drawings by the local artist. Among these works are a sequence of studies leading to the creation of Wyeth’s tempera painting Groundhog Day that demonstrate the transformation and distillation of observation that characterizes his finest work. Wyeth and his wife, Betsy, donated these drawings to the Museum in July 2006 during the final weeks of the retrospective exhibition Andrew Wyeth: Memory & Magic.

Born in Chadds Ford, Pa., 30 miles southwest of Philadelphia, Wyeth was educated at home and apprenticed to his celebrated father, the painter and illustrator Newell Convers (N.C.) Wyeth. He made his solo debut at the Philadelphia Art Alliance in 1936, at the age of 18, and was launched on the national scene the following year with a sold-out exhibition at the Macbeth Gallery in New York. Building on that early success, Wyeth proved to be a painter of profound imagination, skill, and staying power across seven turbulent decades. Both admired and criticized for the tenacity of his realist approach and the unabashed emotion in his paintings, he produced some of the most famous and haunting images of the 20th century.

“All I want to do is paint,” said Wyeth, “and I paint the things I know best.” The everyday “things” found in and around his homes in Pennsylvania and Maine resonated with feeling for Wyeth, offering him pathways into memory and fantasy. His paintings of “things” were rarely straightforward, realistic descriptions: usually, the subjects have been simplified in the process of study, manipulated, and layered with personal associations, metaphors, and symbols that express larger themes of loss, death, and the passage of time.

Curator: Michael Taylor, The Muriel and Philip Berman Curator of Modern Art
Location: Gallery 119, first floor