In the Flesh II at the Target Gallery

Prompted by this Kevin Mellema review, I dropped by Alexandria's Target Gallery last weekend to see the exhibition In The Flesh II (through August 30 with an Opening Reception: August 13 – 6-8pm, and a Gallery talk with curator Andrea Pollan at 7pm).

Target Gallery has been consistently one of the Greater DC area's best, and many times, only art venues to routinely showcase artwork by artists outside the Greater DC region, as their national calls are usually well responded to by artists all over the nation and even internationally.

Under the skilled guidance of gallery director Mary Cook, the gallery has refined its presence, thanks in part to the superb set of jurors that Cook has been able to bring to the gallery, such as Andrea Pollan for In The Flesh II. Pollan writes in her juror statement:

Figurative art has had a resurgence in recent years, no doubt brought on by the barrier-breaking internet and its promise of access to all kinds of social information - including things previously kept private – that emphasize what strange and fascinating creatures we are. Witness the popularity of YouTube.com, where the more extreme the videotaped image or behavior is by social consensus, the more frequently a link goes viral and gets viewed. Our self-absorption knows no bounds. Our bodies are endlessly fascinating.

Concurrent with this technological phenomenon is an international spate of important survey exhibitions of such figurative artists as Willem De Kooning, Francis Bacon, and Alice Neel. The Hirshhorn currently has its “Strange Bodies” exhibition on view with works in all media that span the 20th and 21st centuries, and The Phillips Collection is presenting the historic survey “Painting Made Flesh.” Clearly there is something in the wind.

The organizing premise of this juried exhibition is figurative work. From over 800 submissions, it was extremely difficult to cull an exhibition of only 27 works. Many very fine works were sacrificed in the final few rounds of jurying. My primary criterion was to select works of artistic quality, sometimes traditional and sometimes not. Clearly the poetic, the mysterious, the contemplative, the whimsical, the political, and sometimes the dark side of humanity characterize many of the works on view. This may be attributed to my juror’s bias that includes a predilection for a good imagined story.

Figurative work in general encompasses a broad range of genre and technique. For the works at the Target Gallery, I aimed to assemble a collection of art that reveals the power the figure has to engage the viewer whether realistic, expressionistic, surrealistic, documentary or mediated by another medium. As an audience we more easily identify with figuration as we already have an entrée into the work of art by virtue of the subject. Given the depicted content, we then by nature project narratives onto the work, so we become an active participant in the interpretation of the work. These stories are the deeply seated human connection that binds us to each other and to the art on view.

Many thanks to the astounding number of artists who submitted from around the country and to the staff at the Target Gallery, especially Mary Cook, for providing a wonderful opportunity to get to know work of so many artists in far-flung areas.

As soon as one enters the gallery, the first thing that we notice is the very interesting installation by Stephanie Liner, which in a sense dominates at first sight, in part because of its scope, and in part because of the size and fascinating sculptural ideas delivered by the artist.


Stephanie Liner – Momentos of a Doomed Construct. Full view Installation.


Stephanie Liner – Momentos of a Doomed Construct. Full view Installation (side view).


Stephanie Liner – Momentos of a Doomed Construct. Large form with door open.


Stephanie Liner – Momentos of a Doomed Construct, detail (inside large form).
It is also clear that Momentos of a Doomed Construct (is it Momentos or Mementos?) would have shown better by itself in a larger space, kudos to Pollan for selecting it and kudos to Target for showcasing it as well as they did.

This show is full of great work, and there are several artists here who should really be seen by our local collectors and by my fellow art dealers. Pollan's experienced eye has delivered a winner and this show is by far one of the best figurative shows that I have seen in years.

The first piece that attracted my attention was Anna Kipervaser's Inunion (3), an oil painting on shaped panel that immediately brought to my mind the similarly shaped panels of Cuban artist Aimee Garcia Marrero that we showed in Georgetown and also in Bethesda several years ago.

Anna Kipervaser, Inunion (3). Oil on Shaped Panel
In either case, both artists' technical facility translates superbly to the shaping of the panel, which then delivers a piece that somewhat marries painting with sculpture and that does well in either case.


Ann Piper, Censored.Oil on Canvas
Ann Piper's Censored is just a good painting, period. This is an obviously skilled painter with enviable painting skills and a talented brush, and she flexes those abilities in a rather simple but sexy painting with a hint of playfulness and a load of seriousness attached to it via its title.

Jason John's mastery of the genre of hyper-realism blew me away. This is hyper-realism at its best with a hint of surrealism, or is it?


Jason John, Conversation of a Paranormal Event, Oil on Board
Has the child's magical flick of the wrist lifted the object in the upper left in a gravity-defying act? or is the object a helium filled balloon orbiting the painting of its own accord? The answer lies in the way that the man responds to the scene and under John's talented hand, the painting succeeds in grabbing our attention through his.

Other works worthy of attention were Colin Asmus' two pieces in the show, which deliver a marriage of social situations with a touch of internet insanity and excellent painting skills. I also liked Jeffrey Haupt's sexy and a little eerie Miss A, a large oil on panel (56'x35") which is a steal at $1,250.

Strong narrative is the key to the success of Jami Nix's 42nd Street Time Square Station, a piece depicting a bunch of NYC cops with canine assistants inspecting the famous subway station.

Rachel Sitkin's graphite titled Under Question represents drawing well in the show, as does Jeff Markowsky's superb charcoal drawing.

Finally, Valerie Patterson's watercolor Woman is the Other has a touch of the magical madness of Gregory Gillespie's work, and leaves us unsure if we're witnessing a macabre act or a depicting of loss of identity or self-esteem.

This show is a winner; almost every piece could have been a Best in Show on its own, and my choice for Best in Show would go to Jason John.

Don't miss the opening on Thursday, August 13, from 6-8pm.

New DC gallery

New (to me anyway) is Momento Gallery at Wisconsin Avenue, NW in DC. They come to the scene already representing some well-known DC area artists such as Andres Tremols, Richard Dana, Joan Belmar, Randall Packer and Patricia Secco.

Visit them online here.

Confirmed

The U.S. Senate voted to confirm President Obama's appointments to chair the National Endowment for the Arts and the National Endowment for the Humanities.

Rocco Landesman, a Broadway producer noted for award-winning productions like Angels in America, Big River and The Producers, was confirmed as the new chairman of the National Endowment for the Arts. For twenty years, Landesman has been the president of Jujamcyn Theaters, New York's third largest theater owner.

Jim Leach was also confirmed as the next chairman of the National Endowment for the Humanities. Leach is a former Republican congressman from Iowa and is a professor at Princeton University's Woodrow Wilson School of Public and International Affairs.

Artists' Websites: Jason John

I've just discovered the work of Pennsylvania artist Jason John at the Andrea Pollan juried show at the Target Gallery in Alexandria, Virginia and I was very impressed by John's piece in that very strong show full of gems.

Jason John, Conversation of a Paranormal Event, Oil on Board
And it is not only the amazing technical virtuosity of this hyper-realist artist, but also the intelligent composition and the way that the concept and idea is delivered by John's skilled brushwork. Look at the subtle way that the "paranormal" in the work (in this case the floating balloons) is introduced... we almost miss it as we're enchanted by the brilliant twist of the child's wrist and the terrestial look in the man's face.

Visit his website here.

Factory Statistics

My recent post on the issues facing the Torpedo Factory has been getting a lot of attention. My good friend Margaret Huddy (and a superbly talented artist) pops in with some very enlightening stats and also lets us know that "Mr. Pope got Joan Aldrich's name wrong. I wondered why I had never heard of her. Her correct name is Joan Ulrich and she does have a studio on the first floor. She is a ceramic artist."

Here are some statistics on lease-holding TF artists.

There are currently 143 leaseholders. Of them only 18 are original artists. In the 20 years between 1974 and 1994, 600 artists have been leaseholders. From 1993 to 1003, 113 lease-holding artists left. From 2004 to 2009 33 leaseholding artists left and 41 new artists were added.

From 2007 to 2008, nine more artists became leaseholders. Only 10 artists on the waiting list of juried artists are actually wanting to have studio in the art center. Many of the rest live as far away as Washington state and California. They keep their name on the list "just in case" they ever move back (one is 85, so I doubt she will, but you never know).

We do the best we can to attract new artists for our annual jury but many people find the idea of working in the public eye very daunting. One artist who sublet from me left after three weeks. She said she felt like a monkey in a zoo.

Art Worth the Trip: Ann Arbor’s Art Fair x 4

By Robin Tierney

You can expect an optical deluge at any city art fair. Ann Arbor, Michigan, combines four fairs into one mid-July 1,200-artist ‘palooza, so you really have to pace yourself.

Doing so, I had energy to find love at first sight three times at the Ann Arbor Street Art Fair, at the far end of my route. Billed “The Original,” the 50-year-old event is also the first juried outdoor art event.

First crush: the meticulous, sensitive portraits of animals in the wild and amusing hand-tinted illustrations that seemed plucked from vintage books. Brief titles such as “Battle of the Naked Bunnies” trigger musings about possible plot lines. Ann Arbor native David Bigelow studied printmaking and drawing nearby at the University of Michigan. Now living in Ozark, Missouri, he captures the overlooked details of life and lives, and especially in his drawings turns humor into a tool.

Animals, vegetables (carrots abound), and minerals convey thoughts on human foibles. David cares that people get his ideas and often solicits onlookers’ reactions.

He got mine, and in return I learned how he re-purposed “the worst paper” by “working with what was there instead of trying to impose my will.” He tore the edges and used the large surfaces to draw achingly detailed large beings, such as this elephant [show pictures]. While taking a photo of his rhino etching, I adopted David’s ethos and tried to make the reflections of fair passersby work. See what you think.

“They are good for your eyes,” smiles Bigelow about his work. A good reason to visit dbigelowstudio.com.

Next, I walked back to the 17th century. With his breath-stopping etchings, Grant Silverstein could have passed as a contemporary of Rembrandt. For 30 years, the Mansfield, Pa.-based artist has sought to preserve “a way of looking at things that is still valuable.” He tells the La Fontaine fable behind “The ears of a hare”: after a lion banned horned animals from his kingdom, a rabbit concludes from a shadow that his ears could get him into deep trouble.

Another Difficult Kiss. Intaglio Etching by Grant Silverstein
“Another Difficult Kiss” started as a tiny study of two figures. Silverstein then made it the center of a large-scale village scene complete with fiddler cycling in a wheeled hammock, an element inspired by a contraption spotted during his own travels. Savor Silverstein’s etched allegories, nudes and landscapes at GrantSilverstein.com.

“Classical alien, mystic surrealism” is how Michael Madzo describes his oeuvre. I’d seen his work at Zenith Gallery in D.C.; he has been at this for 20 years. He layers paper and paint, cuts apart perfectly good paintings, reassembles the pieces, and stitches them back together using a sewing machine. Rather than build the image in the brain or in sketches, Madzo pieces by intuition. “It’s like assembling a jigsaw puzzle without the reference pictures.”

The process is akin to how memory and consciousness work, he says. “We’re always adding pieces to a collage of experiences from every day. We start each day in a new country and as a new person.”

There’s a hint of Marc Chagall, but the content, spirit and subterfuge are pure Madzo.

If you visit Ann Arbor before the 2010 Art Fair, check out the University of Michigan Museum of Art. Reopened March 28 after completion of a new wing, it features an impressive collection, including a warrior sculpted from detonated AK-47s. Catch “Warhol Snapshots” between Aug. 23 and Nov. 1.

Mellema on Target Gallery

This review by Kevin Mellema has really intrigued me and because of it I dropped by Alexandria's Target Gallery (inside the Torpedo Factory, first floor) last weekend to see the show.

To say that I was blown away, as impressed by a gallery group show as I have been in many years, does not even begin to cover how good this show is. It is juried by my good friend Andrea Pollan and I know that Andrea must have been as impressed as I was by the really high quality and intriguing, innovative work by the national and international artists that she selected.

These are nearly all "new" artists in the sense that most of them are not from around the region, and their work is a breath of fresh air on a rather mundane subject/focus for the show. More on the show itself, from my point of view later, but if you can, get yourself to Target and see this show.

And for my fellow dealers: take the time to go see this show, there are 3-4 diamonds in there ready for prime time.

This show reaffirms what I have been thinking for a long time: Target Gallery is easily the leading edge gallery in Alexandria, and I dare say in the region, and sort of the seed for what the Factory itself needs to do (in part) to re-invent/re-vitalize itself.

Read the Mellema review here; mine will be up soonest.

Wind Wasp-aided

Just back from an encounter with an underground nest of wasps or hornets while out in the woods.

Bad news: three very painful stings.

Good news: new world record set in the 200 meter dash uphill.

Bad news: the International Association of Athletics Federation does not recognize world record times set when the runner is being chased by a cloud of angry insects.

Opportunity for Artists and Curators

International Deadline: September 1, 2009

1708 Gallery in Richmond, VA is seeking exhibition proposals from artists and curators for its 2011 exhibition season. 1708 Gallery is a non-profit arts organization founded by artists in 1978. Their mission is to present exceptional new art. Artists and curators may submit proposals for single or group shows of all media.

Download complete Prospectus here or call 804/643-1708, or write:

1708 Gallery
Exhibitions and Programming Committee
P.O. Box 12520
Richmond, VA 23241

Torpedo Factory Changes Proposed

"As its name suggests, the Torpedo Factory originally was used to construct bombs. But after World War II, the building was used for everything from storing dinosaur bones to Nazi war documents. In the 1970s, the Torpedo Factory was transformed into an art center where visitors could watch artisans in their studios and purchase original works. But Alexandria Councilman Rob Krupicka and others are calling for changes to the art center -- longer hours, movie showings, maybe a coffeehouse or wine bar. Other ideas? Lifting the ban on the sale of art reproductions and establishing term limits for the studios to encourage artist turnover."

Listen to Michael Pope on WAMU here (scroll down) and he also has an article in the Alexandria Gazette here.

A SENSE OF uncertainty is palpable among the artists at the Torpedo Factory, and opinions range from those who would like to see major changes to those who would prefer for things to stay the same. Whatever changes are suggested, many say the discussion has been driven by a sense that the Torpedo Factory just isn’t as exciting as it should be.

"You won’t find much particularly edgy work here," said Joan Aldrich, who has a studio on the first floor. "If we see ourselves as a premiere art center, we should have some work here that’s new — that’s perhaps by definition offensive to some people."

I am told by separate sources that the articles and the WAMU report contained a few inaccuracies that somewhat upset Councilman Krupicka, who is a supporter of the Factory.

What do I think about all this? This is a very complex situation, with many different angles and approaches, and deserves some thoughts on the subject(s) from a variety of perspectives. In fact, I submit that from a variety of senses and sensibilities and experiences.

I could submit an opinion from the Campello who is an artist, another different one from the Campello who is an art critic, another one from the Campello who is an art dealer, one more from the Campello who is an art collector and yet another one from the perspective of an arts marketeer.

No one at the Torpedo Factory has asked my opinion, and they do have some sort of task force working on ideas to re-invent that amazing place, but I want to express some opinions and start a public dialogue here for anyone else who has something to say on the subject.

After all, the Torpedo Factory was and is a labor of love by a visionary few who took out truckloads of garbage out of an abandoned building and converted it into one of the great art center locations in the nation and the key to the entire revitalization of Old Town Alexandria. The city and the region owes a lot beyond just artistic output to the artists of the Factory, and the $3 million dollars a year that the city of Alexandria spends in subsidizing the Factory has been repaid a thousandth fold over the decades, not only is peripheral income associated with the Factory, but also in the immeasurable way in which the TF kindled and started a complete urban renewal in Old Town Alexandria a few decades back.

So the first thing that comes to my mind is that the bulk of the decision should be made by the Torpedo Factory artists themselves, and although I don't know who is in this "task force", I suspect that it is driven by the Torpedo Factory Artists Association (TFAA) members.

But with all due respect to many of my good friends in the TFAA, they also need to be careful that in their zeal to do a good thing, they become too myopic about their own environment and lack an outside view and sanity checker.

Most (not all) artists often make fatal assumptions when it comes to the business of art, and it seems to me that what makes a significant ingredient in this TF re-invention soup, is the business of running the TF as a complex tapestry of things.

That includes artistic presence, focus, business approach, artist turnover, genres, medias, diversity of businesses within the TF, etc.

"Some more divisive recommendations being floated would allow commercial reproduction prints to be sold and create term limits that would bring in a younger set of artists to the building," writes Pope in the Gazette.

Let's examine the issue of reproductions.

First of all a lesson in the misuse of the word "print".

One word that has been hijacked from the art lexicon by the art merchants is the word "print".

A print is a woodcut, or a linocut, or an intaglio etching, etc. It is created by the print maker, from beginning to printmaking. Anything else is a reproduction.

So if the original is a watercolor, or an oil, etc. and then you get digital copies of it, or four color separations, etc. all of those are reproductions of the original. However, it's hard to sell something when you describe it as a reproduction, and thus why dealers and artists alike describe their reproductions are "prints".

Giclees is a modern artsy way to describe a reproduction. Giclee is the French word for "spray" or "spurt." It describes the Iris burst printers originally used to make the beautiful new digital reproductions that started appearing in the art world around 15 years ago.

Nothing pisses off a print maker faster than hearing a reproduction called a print.

Currently Section II of the TF Bylaws state in (D) that:

"Work created at the Art Center must be original as defined by Standards and Practices For Arts and Crafts in the House Rules. Such work is not to be competitive with local merchants."

So the TF artists are not supposed to be selling reproductions of their artwork from their studios, and I understand that the membership will request to the Board of Directors that this section be deleted and thus allow artists to sell reproductions of their work.

I'm torn a little by this.

On one hand, in theory it gives the general public an opportunity to acquire a signed reproduction of an original work, and in theory that cheaper more affordable art commodity offers the artist a new avenue of income. Those who can't afford the original buy a signed poster reproduction, usually described as a "limited edition, signed and numbered print".

Nearly everyone else does it, and locally in the Greater DC region, one of the top art galleries is also become nationally well-known as the print maker to the art stars, and in the last few years nearly all galleries, both regional and national now offer more affordable reproductions limited editions of their pricier, more popular artists.

I have done it myself in the past with some of my larger, more expensive original drawings.

On the other hand, allowing selling of reproductions does in some sense dilute the sense of art as an original commodity. And then we start getting into the 21st century argument of what is an "original" in digital artwork, and what about photographers with multiple editions, and photographers with open editions, and even true print makers who once they sell out of the original set of prints, decide to dig out the original plate and pump out a second set of prints or a second edition.

See how complicated this got really quick? Nothing in life is really simple.

But the artists have apparently already voted and will soon request that they be allowed to sell reproductions, so in this case, my opinions and the issues have been overtaken by events (OBE) as they say in military lingo.

Although the Board still has to vote on it, I think. But let's file that for now.

What about bringing in a "younger set of artists" to the building?

For their own sake, I hope they mean "younger" to really mean in terms of artistic development and not just age. Otherwise expect lawsuits from the gray-haired artist who just finished his/her MFA at MICA at age 60.

But this idea does have some merit and deserves some critical thinking.

I am and have been for years a great supporter of the TF and its presence, but in my opinion their Achilles heel is in fact their greatest paradox in a sense, and it is their artistic refreshment rate. If it wasn't for the terrific job that the Target Gallery (on the first floor of the TF) does with their national calls for artists, we'd rarely see a new name at the Factory.

Paradox because one of the greatest assets of the Factory is the continuous presence of some of their power artists such as Rosemary Feit Covey, BJ Anderson, Susan Makara and others. But because the turnover rate of artists retiring or leaving is so rare and slow, it takes a long time for a studio to become available, and new artists show up almost always through complex process of studio subletting, temporary subleasing, etc. Many of the artist tenants have been there since the very first day that the TF opened its doors to the public (in fact I curated a show of their work a few years ago).

Achilles heel because it is very difficult for a "new" artist to get a permanent space at the Factory. Once a year, the Torpedo Factory puts out a call for artists who wish to be considered for a studio space. Generally about 70-80 applicants enter the annual jury process and about six or seven are accepted. But "accepted" doesn't mean that they get a space; rather it sort of means that they are in line for when a space becomes available.

Every time that I post the TF's call for artists (there's a fee involved), I get a flurry of emails from artists complaining about the process.

This needs new thinking and a new approach, for I am on the side of those who opine that new blood is always good for any artistic community endeavor.

As with any group effort, I am pretty sure that about 5% of the artist members of the Factory do 95% of the actual communal work to keep the Factory working. That 95% will be the, however, the most vocal opposed to any change that may put some studio space in jeopardy.

It has to happen.

Not that it will result in immediate improvement, nor in the way that the art critics around this town view the TF (traditional artwork only, whatever that means). Don't expect Jessica Dawson or Blake Gopnik or any most of the art bloggers to suddenly put the TF in the same perspective as the Mattress Factory in Pittsburgh or the Painted Bride in Philly, etc.

Even if Andrea Fraser decided to do her new naked nude museum/art center sex video at the TF or Shepard Fairey decided to move his studio to the TF tomorrow (and got accepted), the galvanized minds of many would be hard to convince that "change" has come to Old Town Alexandria's first among equals.

But slowly and surely it would work, and here and there a new, "young" artist would push some of the traditional and well-known buttons that get artists and their art instant notoriety and press: sex, nudity, anti-Christian art, bodily fluids, flag desecration, anti-President, anti-Israel, pro-some anti-American dictator, etc. Some if not most of that is hackneyed recycled art in new wrapping, but among the set of "younger" artists would almost certainly be those with new ideas and new concepts and new vitality and energy, which after all is the essence of what I think the Factory thinks it needs.

And a warning to the politicians who subsidize the TF: be careful what you wish for. With new artists and new ideas will come some of what I described above, and then what will happen (as it always does) is that the ugly hand of censorship will rise and the politicians will get involved and demand censorship or the $3M yearly subsidy goes away.

This will of course, bring instant worldwide press to the TF: "Torpedo Factory artist censored by Alexandria Town Council!" the headlines will shout.

But enough nonsense; how can the TF refresh their artists base on a more regular schedule/rotation?

The easiest way would be to make a certain number of studios available on a resident base, so that visiting artists could have the studio space for a year or two and then rotate (maybe they already do this, I'm not sure). Some of these residencies should be made available to recent MFA graduates, perhaps some should be made available to genres currently not represented at the Factory, such as the 60-year-old genre of video art.

Perhaps another, and harsher way would be to have an established procedure where current artists are re-examined on a yearly or biannual, or whatever time frame to re-evaluate their performance and artistic qualifications for having a permanent presence at the Factory. In a sense like the academic community does for their tenure track faculty.

Produce or be gone, or in this case, show us what you are doing, other than painting the same painting over and over again and selling it off to the tourists.

Awright, awright... so I've rambled enough and only touched the surface of this complex issue; expect more as I dig out more information and more ideas. This is the surface of the artberg and some of the above ideas and perceptions may be off base, but they're my opinion... so far. I'd like to hear your opinions and constructive criticism. Send me an email (to lenny@lennycampello.com) and I will publish them here and start some sort of dialogue.

To the TFAA: I will also gladly ramble in person with any/all of you if you want my input ad hoc as it comes across.

More later... stay tuned.

Technology things I don't like

I am really bugged by what happens when you accidentally hit a button or something on your phone and an alluring female voice says to you: "Say a command..."

First Friday Openings Tonight in DC

Today is the first Friday of August and thus usually time for the openings and extended hours of the Dupont Circle area galleries. Openings are generally from 6-8PM, but make sure to check their websites for the correct times or call your favorite gallery, as some of them close for August.

Julie Niskanen, Illusionary Reflection, mezzotint.
The 12th Annual National Small Works, juried by my good friend Jane Haslem, Director of Jane Haslem Gallery will be at Washington Printmakers Gallery and it is always one of the top juried shows on my list each year in the DC region and a great place to see what printmakers around the country are doing. Their reception is from 5-8PM and there will be a juror's talk on Sunday, August 9 at 1PM.

Also check out Six in the Mix - "Selections by Renee Stout" at Hillyer Art Space from 6-9PM.

Wanna go to an opening in DC this Saturday?

"Almost Surely, Almost Everywhere," an exhibition including the works of Echo Eggebrecht, Ken Fandell, Mike Iacovone & Billy Friebele, open this Saturday, August 8th, from 7-9pm at Hamiltonian Gallery.

Wanna go to an arts reception in Lorton this Sunday?

The Awards Reception for the Workhouse Arts Center’s First Juried Photographic Competition is this Sunday August 9th from 2-4pm. Juror Ann Shumard, Curator of Photographs at the National Portrait Gallery selected 64 of the 219 images submitted by 75 photographers from around the country for this show. The Workhouse Arts Center is just off 95S 9601 Ox Road Lorton, VA, twenty minutes from DC.

And this fall the Workhouse Arts Center will present Poetic Art: a benefit for the Yellow Ribbon Fund. YRF is a non- profit organization created in early 2005 to assist our wounded troops from Iraq and Afghanistan, and their families, while they recuperate at the Walter Reed Army Medical Center and the National Naval Medical Center.

The exhibition on the second floor of Gallery W16 at the Workhouse Arts Center will feature both professional and amateur poets and artists working in collaboration to produce Poetic Art. The work of art will inspire the poet’s words, or the poem will inspire the artist’s creation. The exhibition will be open to the public Oct. 21 - Nov. 20, 2009. An opening reception October 25th, will feature a reading of some of the submitted poems.

The exhibition will feature both invited and juried artists and poets.

All work must be for sale. Artists and Poets will retain all copyrights. LAF will take a 50% sales commission from sold work. The artists/poets will establish a single price for their combined work and determine the division between themselves of sales proceeds. Artists/poets are encouraged to donate a part or all of their sales proceeds back to LAF & YRF.

A full color show catalog will feature the paired art and poem to be sold as part of the fundraiser. Each participating artist and poet will receive a copy of the Show Catalog. However, none of the proceeds from the sale of the Show Catalog will be paid to the artists/poets.

For more details and the prospectus, email martikirkpatrick@lortonarts.org.

Ann Liv Young Flavored Pork

Visitors at the small, experimental space PS122, which hosted a tribute show of video, dance and musical performances dedicated to rap artist Kanye West, were probably shocked when the hip hop star showed up at the event himself. But they were likely not as shocked as Kanye, as the night progressed, when performance artist Ann Liv Young came on stage, completely naked, and berated the rapper for his most recent album "808s & Heartbreak". And to add to the bizarre diatribe, while she was complaining that the CD was not his best work, Young rubbed barbecued pork onto her genitals, before eating it.

AN has the story here.

Annie in money troubles

Celebrity photographer Annie Leibovitz may be better off declaring bankruptcy than battling a creditor suing her for breaching a contract related to a $24 million loan, bankruptcy experts said.

Art Capital Group, a New York-based company that makes loans using art as collateral, extended Leibovitz $22 million in September 2008 backed by the rights to her photographs and real estate in Manhattan and Rhinebeck, New York, court papers said. Three months later, she got $2 million more, according to a suit filed last week in New York State Supreme Court in Manhattan.

The financing company sued Leibovitz, alleging she refused to cooperate in the sale of the copyrights to her photographs and won’t give real-estate agents access to her properties for sale. Leibovitz has to repay the loan with interest and other expenses by Sept. 8, according to the suit.

Read it in Bloomberg here.

John Grazier Magazine

The immensely talented DC artist John Grazier has self published a really good magazine about his art, quotes by individuals and collectors.  Grazier writes to me:

"Other artists might consider doing something similar to promote their work.  Publishing it is free!  I think the concept is great, and if someone wants a profit, they just take that option, pricing the publication above print on demand cost-- they will receive payment via paypal."

See the mag here... and yes, Grazier's work is spectacular!

What are we looking for?

More than 200 Times readers have responded to the question the chief art critic Michael Kimmelman poses in his latest Abroad column:

What exactly are we looking for when we roam around museums?

On a recent visit to the Louvre, Mr. Kimmelman observed that “almost nobody, over the course of that hour or two, paused before any object for as long as a full minute.” His conclusion: “Tourists now wander through museums, seeking to fulfill their lifetime’s art history requirement in a day, wondering whether it may now be the quantity of material they pass by rather than the quality of concentration they bring to what few things they choose to focus upon that determines whether they have ‘done’ the Louvre. It’s self-improvement on the fly.”

Julie Bloom in the NYT discusses the comments and their meaning. The comments have a few good points (lack of benches, etc.) but most are full of high handed snobbery and sadness. Read it here.

I'm confused

I'm not sure if this review by the WaPo's Chief Art Critic is a good one or not.

There's not much to see in two art projects now on view in Baltimore. That's why it's worth rushing out to get a look at them before they close in the next few weeks.

In fact my plebian mind fails to understand the bipolar nature of the points in the review, wondering from negative to positive to negative again, and ending in positive (I think), all the while while seeming to praise the actions of a former art curator heading to the fold of a mad South American dictator while rehashing traditional critical arrows at the heart of art and style as if they themselves were new. I think that Blake may be somewhat brilliant in the way that he managed to confuse me, but then again, I could be wrong. Prepare to be confused here.

For an equally brilliant counterpoint, Richard Whittaker interviews Jane Rosen:

Jane Rosen: I want to make work that you don't have to have a Master’s degree in Art History to understand. When I lived in St. Martin there was something about the quiet and the water. I became interested in fishing and met an elegant old black man, Mr. Anstley Yarde, who was very tall and thin and had a great presence. He taught me how to fish. You use a can and string. He’d get me at six o’clock in the morning and we’d get these snails. We’d sit on a rock and drop soda-can lines and just sit there. I never caught a fish but he’d catch them. He’d hear them...and I thought, this man has knowledge. And one day, we’re sitting on the rock and he asked me what kind of art I made. I knew Mr. Anstley Yarde would not understand the art I was making at that time, and I realized I wanted him to understand it. It raised that question: who and what does my art address? Who did I want to talk to and what did I want to talk about?

... Theorists will start talking and I’ll start thinking, "O God. I’m illiterate!" But in actual fact, I’m literate about another range of experience, a range they are not connected to. It’s simply not an issue for them!

Read the interview with Jane Rosen in Conversations here.

Patricia Di Bella at BlackRock

I have always thought that the BlackRock Center for the Arts in Germantown, MD has one of the most beautiful and dramatic gallery spaces in the region. With its impossibly tall gallery space, it opens itself to all kinds of great curatorial ideas. I am told that a new gallery director is coming to Black Rock soon, and hopefully the gallery will receive the attention to its web presence and curatorial care to the space itself, that it currently lacks.

Currently on exhibition are the paintings of Maryland artist Patricia Di Bella, whose large scale work, and uniformity of size give the viewer quite a good visual reception once one enters the large gallery space.

Curtain Falls by Patricia Di Bella
Di Bella's work is a swirl of frenzied theatrical activity and bedlam in a riot of strong brushwork and color impossibilities. In "Curtain Falls" (see above) we're greeted by an odd cast of characters in what I must assume is some sort of unusual narrative. But I am immediately drawn to the odd character on the lower right hand corner of the painting.

We see a female drummer, in dress and ample cleavage, messing around with the drum sticks and posing with them as horns. Is that Sly Stallone? Is it just me or does that face look like Rocky Balboa? Is it an accident of painting or has Di Bella put the Italian Stallion in there for a reason?

I'm not sure, but it certainly adds an unusual twist to this quizzical drama being played on not only on this canvas but also in most of the paintings. What is going on here? What is Di Bella showing us? Is that Bing Crosby crooning some mad song above Rocky? Why does he have wings in his fedora? Is that Monroe with a gag in the rear of the painting?


Running the Finale by Patricia Di Bella
Like any exhibition, some paintings are better than others, and in "Running The Finale" the artist has some issues with her technical facility as we note some issues with foreshortening and proportions. But even those are somewhat overcome by the interesting mayhem going on in the scene depicted on the canvas: it is another madhouse of actions and disturbing emotional ranges.


Sound Check, Teatro Diego by Patricia Di Bella
And it is this mayhem on canvas, with Marilyn Monroe being oddly referenced everywhere, that seems to be the unifying point in most of the work, with possibly the exception of "Sound Check, Teatro Diego," which appears to be a very intelligent homage to Diego Velázquez's "Las Meninas." A bravo to the artist for referencing what is (in my opinion) the greatest painting of Western civilization; it is not an easy task.

BlackRock Center for the Arts is located at 12901 Town Commons Drive, Germantown, Maryland 20874. Call them at 301.528.2260 for more info.

If you missed...

Tim Tate on "All Things Considered" on NPR, you can listen to the clip here.

Che Guevara drawing at auction

Ernesto "Che" Guevara de La Serna Lynch. Circa 1981. Pen and ink wash. 15.5 x 19.5 inches. By F. Lennox Campello
You can own the above Che Guevara drawing by yours truly by bidding for it here.

I created this drawing while a student at the University of Washington School of Art in Seattle, Washington and it is one of my hundreds of portraits of Guevara over the years.

This early original was acquired many years ago by a Texan collector and through the magic of the years and auctions, it is once again for sale. See and bid for it here.

All Things Considered

DC uberartist Tim Tate will be on the NPR program All Things Considered later today. on Monday around 4:20PM. Preview here.

How to survive the recession

Cut costs as quickly and as radically as you can. Speed is the most important thing. Don’t wait, don’t let it get out of control. Act immediately.” This is the advice of Karsten Schubert, the German-born London dealer, to galleries struggling to survive the economic downturn.

Read the AN article by Cristina Ruiz here.

Gallery woes everywhere

Art gallery owners across the country are finding they have a tough sell these days.

With houses going up for auction, unemployment continuing to rise and the threat of layoffs seemingly ever-present, many gallery owners in art communities such as Scottsdale, Ariz., Santa Fe, N.M., Portland, Ore., and New York City are closing shop, going broke to stay open or drastically changing the way they do business.

Read the article in here.

Capps on 14th Street Blues

Kriston has a good article in Art in America expanding on his teaser on the potential relocation of several of the DC galleries at 1515 14th Street, NW in DC. Read it here.

President Obama Gives Helen Zughaib's Painting to Iraq

President Barack Obama gave Prime Minister Nouri al-Maliki of Iraq, a painting by Arab American and DC area artist, Helen Zughaib, at the White House during his recent visit. As a gift between the two countries, her painting “Midnight Prayers” symbolizes the countries’ relations. Zughaib’s art work is currently on display at The Jerusalem Fund for Education and Community Development in Washington, D.C. as well as at Finding Beauty In A Broken World: In the Spirit of Frida Kahlo exhibition that I juried at the Joan Hisaoka Healing Arts Gallery at Smith Farm in Washington, DC (1632 U St NW or 202-483-8600).

For Zughaib, this is a notable development in her artistic career, yet it is not without precedent. Two years ago, one of her paintings, “Reconciliation,” was given to President George W. Bush by then Lebanese Parliamentarian (and current Prime Minister) Saad Hariri as an official gift from Lebanon.

Zughaib, who was born in Beirut, Lebanon, said the piece Obama gave to Iraq is about the prospects for peace she sees in faith. Zughaib was inspired by the Muslim “call to prayer one hears in the Middle East.”

She added, “The beauty of the call to prayer, combined with the rich detail of intricate Islamic designs in blues and greens, symbolize the beauty and lushness of the Arab world. As always, it is a painting that reflects my hopes for peace and tranquility in that region.”

Zughaib helped curate the current exhibit at The Jerusalem Fund for Education and Community Development. The exhibit is called "Gaza Conversations" and runs until September 4th. She helped put it together at the group’s Foggy Bottom-based facilities.

She said the exhibit “is meant to focus attention on the situation in Gaza.” There are three artists showcasing their work in the exhibit, which has drawn many visitors--further showing the artist’s increasing prominence.

Zughaib, like her art, has served as a bridge between nations. For instance, she served as United States Cultural Envoy to the West Bank, Palestine. She said, “My intention as an artist, especially after 9/11, is to further the dialogue between East and West, continue to try to understand each other and bring people together in conversation with the hope of mutual understanding, acceptance and respect.”

Wanna go to an opening tomorrow?



Aylene Fallah - Meet her at the Opening Reception on Sunday, August 2, 2009
1:30 p.m.—3:30 p.m.

Airborne


Heading back home today... have spent three of the last four weeks in California and Nevada; but today airborne from Vegas to DC, with a stopover in St. Louis, where Albert Pujols is a god.

14th Street Gallery Blues

Jessica Dawson has a really informative article in the Washington Post on the issue of the various 14th Street gallery cluster in DC that are facing relocation due to rising rents.

Good news is that G Fine Art is not closing, as previously reported, but relocating.

The article had a mistake on the monthly rentals that has been corrected since it was published. The corrections are at the top of the article here.

New BMA Curator

Doreen Bolger, Director of The Baltimore Museum of Art, has announced the appointment of my good friend Kristen Hileman as Curator of Contemporary Art and Department Head of this important collection. Currently Associate Curator at the Hirshhorn Museum and Sculpture Garden at the Smithsonian Institution in Washington, DC, Hileman will begin her position at the BMA on November 2, 2009.

"Since its inception, collecting and presenting contemporary art has been an important part of the BMA's mission" said BMA Director Doreen Bolger. "Kristen Hileman continues this incredible legacy, bringing experience working with artists on collaborative projects and a familiarity with Baltimore's cultural community that will serve the Museum well as she guides our contemporary program for future generations."

During her eight years at the Hirshhorn, Hileman undertook projects on the work of Cai Guo-Qiang, Jim Hodges, and Oliver Herring in the Directions series in 2004, 2005, and 2006; organized the exhibition Ways of Seeing: John Baldessari Explores the Collection in 2006; and co-organized with other Hirshhorn curators The Cinema Effect: Illusion, Reality, and the Moving Image-Realisms in 2008, publishing an essay for the catalogue. Most recently, Hileman organized Strange Bodies: Figurative Works from the Hirshhorn Collection, which is on view until November 9. On October 8, 2009, the Hirshhorn will open Anne Truitt: Perception and Reflection, a major exhibition which she has organized and for which she has written the catalogue.

Hileman began her career at the Hirshhorn as a fellow in 2001, was named an Assistant Curator in 2003, and Associate Curator in 2007. Before joining the Hirshhorn staff she was a Curator at the Arlington Arts Center in Virginia. She has also held positions as an adjunct faculty member at the Corcoran College of Art and Design and George Washington University. She is a graduate of American University with a MA in Art History from the University of Maryland at College Park. In addition to her responsibilities at the Hirshhorn, Kristen has served as a juror for many exhibitions in the Mid-Atlantic region as well as a visiting critic at the Maryland Institute College of Art and at Virginia Commonwealth University. She has also published numerous articles and reviews.

One of Hileman's first projects will be coordinating the BMA's showing of Andy Warhol: The Last Decade, first U.S. museum survey of Warhol's late paintings. This five-venue nationally touring exhibition is organized by the Milwaukee Art Museum and scheduled to open in Baltimore in October 2010.The Museum has one of the largest collections of late works by Warhol in the United States and is a major lender to the exhibition.

Congrats to Hileman!

Artomatically speaking

Artomatic 2009 came to a triumphant close July 5, smashing records and making headlines. During the 28 days of art, music, and revelry, AOM had over 76,000 visitors to the 10th anniversary event - a new record high!

Need more proof that Artomatic 2009 was the hottest ticket in town?

AOM filled 10 floors and 275,000 square feet of space with displays by over 1,000 artists. They rocked it out, danced it up and had a grand ol' time with over 600 live performances, 20 artists tours and two socials. There were even a record-number of events for the younger set (aka artists in training), with 54 kids workshops ranging from dioramas to mobile-making.

"I'm Also a Beauty Queen" by Brian Lusher
And currently "The Best of Artomatic" is attracting attention at my old gallery, check out the most recent review here.

DC gallery to close relocate

Just read at G.p. that the District's G Fine Art gallery will close at the end of the current show.

Update: Dawson in the WaPo writes that G will relocate, not close, as interpreted by me from the G.p. post. Relocation due to rising rent

Update 2: Capps expands on his post here.

Examiner

I was on page 27 of the Washington Examiner last Sunday discussing the sobering work of Diane Kahlo at the current Frida Kahlo influenced exhibition that I curated at the Joan Hisaoka Gallery in DC.

Read it here (go to p.27): here.

West

I'm still out West and heading home tomorrow... it has been over 100 degrees every single day that I have been here (first week of July and the last two weeks).

They don't call this area the "Desert Empire" for nuthin'.

Opportunity for young curators

Deadline: 7pm, Friday 30th October, 2009

MARCO/FRAC Lorraine Award for Young Curators: Call For Applications - Organized by the MARCO, Museo de Arte Contemporánea de Vigo, Spain and FRAC Lorraine, Metz (Fonds regional d'art contemporain de Lorraine), France, the purpose of the MARCO/FRAC Lorraine Award for Young Curators is to offer participants the chance to execute an exhibition project to occupy MARCO's first floor and the exhibition venues at FRAC Lorraine. Entries will focus on the field of contemporary artistic creation and contemplate the participation of two or more artists.

The exhibition project will have a budget of a maximum sum of 30,000 Euro for each venue. The exhibition will take place from May to September, 2010 at MARCO Vigo, and from October, 2010 and January 2011 at FRAC Lorraine. Proposals that include works from the Collection FRAC Lorraine shall be taken into account. To visit the Collection click here.

All curators born in and after 1970 are eligible to enter the competition. If an entry is a group creation, one person will be chosen from that group to represent it and act as mediator with the institution. Curators will not be allowed to participate as artists. Entries must be previously unpublished and must contemplate the participation of two or more artists. No more than one project per entrant will be accepted.

The curator of the winning project will sign a contract with the Fundación MARCO and FRAC Lorraine, agreeing to comply with the functions derived from curating an exhibition, the characteristics of which will be specified in the contract. These will include the selection and location of the works, the design and supervision of the installation, and the writing of at least one text for the catalogue. The curator will receive the sum of 7,000 Euro, tax included, as an honorarium.

A jury made up of professionals of the art world will select the winning project and two finalists in November. The jury's decision is final. The jury may declare the award void should they consider this necessary. The criteria for evaluating the entries will be based on quality and suitability to the characteristics of the first floor of the MARCO as an exhibition space and exhibition spaces at FRAC Lorraine.

The jury will be composed by:
Beatrice Josse, FRAC Lorraine Director
Iñaki Martínez Antelo, MARCO Director
Kevin Muhlen, Casino Luxembourg – Forum d'art contemporain Director
Agar Ledo Arias, MARCO Head of the Exhibitions Dept.
Pedro de Llano, Art Critic and curator

The jury's decision will be made public in November 2009 and all participants will be notified.

Entries must be exclusively and simultaneously submitted, PDF format to the following e-mail addresses info@marcovigo.com and fraclorraine.coordination@wanadoo.fr, subject: 'Award for Young Curators'. In case of sending additional information, please send it to: MARCO, Museo de Arte Contemporánea de Vigo. Rúa Príncipe, 54. 36202 Vigo (Pontevedra), Spain and 49 Nord 6 Est - FRAC Lorraine. 1 bis, rue des Trinitaires. 57000 Metz, France. Dossiers received in only one venue will not be accepted. Projects must be preferably written in English, although Spanish, French or Galician languages are admitted.

The closing date for the reception of entries is 7pm, Friday 30th October, 2009. Dossiers received after this time will not be accepted.

For more information:
http://www.marcovigo.com
http://www.fraclorraine.org

Blee on Cleary

Lyrical, and full of grace and light, the recent pastels of Manon Cleary dazzle with their technical bravura at the Addison/Ripley Gallery in Georgetown (1670 Wisconsin Ave. N.W., Tuesday-Saturday 11 a.m.-6 p.m.) Who else can make a rat’s ear (literally!) into a visual poem? And who could possibly make it as beautiful?

John Blee is such an elegant art critic... and it takes elegance and depth of historical knowledge of the DC area art scene to know what a powerful presence Manon Cleary has been in DC for decades.


Manon Cleary photo by Tom Wolff
Cleary is perhaps the capital region's most talented incarnation of a Renaissance master whose brush translates the greatest achievements of Western realism into a modern contemporary dialogue and whose art mortally wounds the argument of those who claim that painting is dead.

Read Blee's review here and do not miss this show! It goes through August 22.

What kind of print is it?

Join Susan Calloway for Happy Hours in Georgetown abd some art education!

Today, July 29, from 3 pm - 7 pm: What kind of print is it? Caroline Adams, a local artist who studied printmaking at the Rhode Island School of Design, explains the different printmaking processes which produce etchings, engravings, lithographs, mezzotints, etc. Also, take 20% off all antique prints that day.

www.callowayart.com
www.georgetowndc.com

--
Susan Calloway Fine Arts
V 202.965.4601 F 202.338.1660
gallery@callowayart.com

Emily Lyons on DC artists

The advice for would-be collectors is endless: Buy the best art you can afford. Buy what challenges you. Buy what makes you feel at peace. Buy from artists you know and admire. Buy work your mind revisits days after you’ve seen it. Buy with a sentimental eye.

Whatever your strategy, art can be a wise investment, producing happy returns. If well-selected and cared for, its value will likely increase.

Read Lyons in Washington Spaces here.

Mellema on Best of AOM

Kevin Mellema reviews the current AOM pick show at Fraser. Read his review (scroll down) here.

Things I don't understand

Why do couples bring their kids to Las Vegas? From rugrats to pre-teens to teens all wondering around the halls adjacent to the gaming areas.

I guess this is how the gambling seed is planted on the young: shine all the pretty lights and sounds of gambling in front of their eyes, but forbid them from entering the area.

And as soon as the right age is achieved: booze and chips galore!

Las Vegasing

For the weekend anyway... below is the view from my room of one of the oddest cities on the planet and one of the Universe's most unique spots, visited, as I have noticed, by many aliens and mutants.

Trawick Prize Finalists Announced

Well, nobody told me or sent me a press release... but they are announced and online here.

Congrats to all the finalists! The eight finalists for the 2009 Trawick Prize Awards will be on exhibit at the Fraser Gallery in Bethesda from September 2 - October 3, 2009.

My bet is on Molly Springfield with Laure Drogoul also a strong contender.

Wiki Wars

Drawing up battle lines – art gallery takes on Wikipedia

The appearance of some of the world's most famous portraits on a website could create a legal landmark

Read about it here.

Opportunity for artists

Deadline: Friday, August 21, 2009 at 5:30pm.

The DC Commission on the Arts and Humanities (DCCAH) in collaboration with District of Columbia Public Libraries (DCPL) is seeking East-of-the-River artists, including writers, to submit proposals for four prominent areas inside the new Benning and Anacostia Libraries which are expected to open in the spring of 2010. The proposed artwork sites provide artists and writers the opportunity to display their work in a large-scale format in a public building. Artist Honorarium: $2,500. For more information about the project contact Rachel Dickerson at rachel.dickerson@dc.gov or (202) 724-5613. To obtain an application go to www.dcart.dc.gov (Public Art - Current Calls to Artists)

For more information about the libraries go to www.dcpl.dc.gov (DCPL Construction Projects).

ACA online

The new American Contemporary Art magazine is now online.

This art magazine is different (at least to me) in that it really covers the country (not just NYC galleries) and there are quite a few DC area gallery reviews and a "focus DC" article by yours truly.

Read it all here.

Cy Katzen

We are sorry to learn of the passing of Cy Katzen. He was a great man and a true ubersupporter of the arts, a good friend, and a great friend of DC area artists. He will be greatly missed but his name lives in the gorgeous American University museum that bears his name.

Desert days

I never expected the constant heat of the desert to be so malleable. One minute it is killing you slowly, and the next minute, and only after you've been hours inside an air conditioned space and slightly chilled out, as you step outside it envelops you in a baking oven of earth heat.

It feels really good, almost sensual as your body gives up the chill and warms up all at once. Soon your cheeks begin to tingle... a tingle like you get when you drink Bacardi 151 by accident thinking that it is regular rum and suddenly your cheeks go numb.

Wanna go to an artist's talk in DC?

Margaret Boozer: Dirt Drawings

When: July 25, 2:00pm
Katzen AU Museum Show dates: Jun 27 – August 16
Hours: (Admission is free) 11:00 a.m. to 4:00 p.m., Tue–Sun
Location: AU Museum at the Katzen, 4400 Massachusetts Ave, Washington, DC.

Boozer is one of DC's rising uberartists and I will be visiting this exhibition (I've been seeing bits and pieces of it in Boozer's studio over the past few months when I've visited her). If you want to see how a great contemporary artist handles a very traditional media and takes it headfirst into the 21st century, go see this show.

Boozer is represented locally by Project 4 Gallery.

Wanna go to a reception in Baltimore this week?



Saturday, July 25, 2009 between 6-9pm for the closing reception of the School 33 Studio Artists’ Exhibition.

Opportunity for Artists and/or Curators

Deadline: December 30, 2009

The Sumter County Gallery of Art (SCGA) is now accepting exhibition proposals for its 2010 exhibition schedule. SCGA is an innovative non-profit art institution that features leading-edge exhibitions and public programs showcasing new perspectives in traditional and contemporary art that pushes boundaries in its treatment of materials and subject matter. Located in stunning galleries within Sumter's landmark Cultural Center, in a newly renovated state of the art facility adjacent to Patriot Hall, SCGA presents work in a range of media by influential national and international artists as well as local and emerging artists. The gallery will accept proposals from emerging and established artists residing in the continental United States for group and solo exhibitions. All media will be considered. No entry fee is required. Please submit a proposal that includes 10-20 jpg images numbered on a CD/DVD. Please include a hard copy of the numbered image checklist (Include: title, media, dimensions, and date), artist statement, bio, resume/cv, and cover letter that describes proposed exhibit and scheduling information to:

Frank McCauley
Curator, SCGA
PO Box 1316, Sumter, SC 29151

Please include a SASE for notification and return of materials.

Moonlanding

40 years ago today, the most amazing feat in human history occurred when an American civilian of Scottish ancestry set foot on the moon and became the first human to leave his footprint somewhere else than Earth (at least that we know about).

This was not only a magnificent scientific achievement, but also a spectacular source of artistic images and we first viewed our world (in a photograph) from another celestial body. The images and objects that those brave men brought from the moon are not just scientific paraphernalia, but some of our nation's greatest works of art.

I hereby call for the Obama administration to renew the historical Kennedy call for the exploration of space.

It can once again become the greatest scientific, explorational and artistic achievement of this planet.

Airborne

Heading back to the Left Coast for some rediscovering, scorpion-and-black widow-avoiding (and brown recluses) in the deserts of California for some sweating (it's a dry heat) and desert drawings for the next two weeks.

Those of you who have my cell number: for the next two weeks, until July 31st, I will be on West Coast time, so if you call me at 6AM my time...

More later.

Opportunity for Artists and/or Curators

Deadline: August 1st, 2009

The Greater Reston Arts Center is requesting proposals for exhibitions for its main gallery space for periods of approximately 4-6 weeks. Proposals will be accepted from artists, independent curators, or arts organizations.

Full prospectus here.

Opportunity for Artists

Deadline: August 28, 2009.

The Easter Seals 2010 Art Competition is on and they're accepting works for consideration on an upcoming stamps. Works should be a vertical drawing or painting of a lily, in watercolor, oil, pastels, colored pencil, or computer generated image. Size limitations: no smaller than 8-1/2” x 11” and no larger than 18” x 24”. White or off-white stock is preferred. No entry fee. For more information, contact:

Easter Seals
Attn: Lisa Skaggs
233 South Wacker Drive., Ste. 2400
Chicago, IL 60606

Phone: (312) 726-6200; or check website: www.easterseals.com.

Airport Tales

I'm heading back to California, and this time I am flying out of Dulles, which has one of the most beautiful terminals on the planet.

Earlier this morning (I'm in Dallas now waiting for my connecting flight) I was starving by the time I got to my gate, and was pleasantly surprised to find that right across from Gate 71-73 there's a new Five Guys Burgers restaurant, one of the premier burgers in this Universe. And so I order their showcase slider with grilled onions, pickles, mayo, ketchup and grilled mushrooms. I get number 62.

The guy behind me in line (there's a large line as it is around 10:30AM and the breakfast crowd is too late for breakfast and the lunch crowd is beginning to agitate) orders a grilled cheese, fries and water. He gets number 63.

The scene behind the counter is in a frenzy of fast food cooking activity. The Russian lady who is taking orders is firing them to the three cooks behind them at breakneck speed as hungry travellers pass through her order point.

The two African and Central American immigrant ladies doing the cooking are working at a frenetic speed grilling burgers and frying potatoes and getting the orders ready and yelling out numbers as they are ready.

It is a constant process, as quickly as can be done by three people cooking all at once, but there's a necessary delay in cooking the burgers, and none are pre-cooked and there's a large number of people in line and waiting for earlier orders.

But in about 5-6 minutes, they're up to number 59; these ladies are busting their asses to move the food.

The grilled cheese and fries and water guy who is number 63 is clearly impatient; let's call him GCFWG for grilled cheese and fries and water guy.

He approaches the counter and shouts to the back cooks, "Excuse me, how much longer will it be?"

The little Central American cook stops packaging ready orders and comes to him, she looks at him puzzled. "What is your number?" she asks.

"63," he responds rolling his eyes, "I've been waiting for like ten minutes."

I'm trying really hard to stay out of this, knowing that I will fail. GCFWG is very tall and slim, wearing a very, very tight white T-shirt that showcases his slimness and very tight black pants with really ugly, clunky black shoes. He has one of those large man purses and those nerdy, black glasses.

"You're only a couple of orders behind," responds Central American cook lady.

He rolls his eyes.

I can't handle it anymore. "Is your flight departure getting close?" I ask as he returns to waiting.

He looks at me a second before answering. People aren't used to strangers addressing them in airports, or anywhere else for that matter.

"No," he says, "But this is ridiculous," he snaps, looking at the cooks again and pointing his little chin at them.

"How would you speed the process?" I ask him. "Looks to me like those women are busting their asses cooking as fast as they can."

He looks at me and I stare back, looking hard.

"Ahh..." he stammers. "They need more people."

Again, there are three cooks on duty plus a order-taker.

"How many more?", I press him. "One more, two more?"

He looks at me again, this time he seems a little worried. My number is called and I pick up my bag. I return to him. He is now really looking a little agitated.

"Did you decide?" I ask him. "One or two more cooks?"

"Ahh..." He's looking around, and his number is called. He picks it up and I once again come close to him, look at him and smile.

"I think that three is the optimum number back there," I say gesturing to the cooking area. "And those women are busting their ass," I repeat myself. Now the small Central American woman is observing and listening in.

"I got to go." He says very nervous now, and leaves.

The Central American cook and the Russian order-taker smile and continue working their butts off while GCFWG moves on, hopefully having learned a lesson in manners.

Comemierda!