An artist's true woe tale

The below true tale is from the Washington Glass School blog:

A True Story That Happened To Tim Tate From Several Years Ago

The Worst New York Gallery Experience in History

I fully realize that beginning with that title is tantamount to throwing down a gauntlet to every artist who reads this, but bear with me.

In the end, you'll be the judge.

For the sake of this article the events and the gallery discussed here. This is not an effort to protect the gallery, but an attempt to make this experience a little more universal. Remember, this could have happened to you. This was several years ago.

My tale begins with a common enough event... a charity auction. As artists, we participate in many such events. This one was particularly prestigious and national in scope. As luck would have it, my piece ended up in the live auction section and with spirited bidding created quite a stir. It was at this point that I was first approached by the "New York Gallery."

"Your work is incredible!" they said, "We would love to represent your work in our Chelsea gallery and also take you to SOFA New York! ( A large art fair in NYC)

What a fantastic opportunity... finally New York representation... and at SOFA NY to boot! All seemed right with the Universe.

As a non-New York artist I share a commonly held belief that if I could just procure gallery sponsorship in the Big Apple that my career would definitely take a big leap forward. No longer would I be a regional artist; I would become nationally known. Naive perhaps, but I entered this ordeal with these rose-colored beliefs.

My first hint of unease came when the gallery insisted that I do an "Installation." I knew that SOFA NY was not about installation work and neither was I at the time, but hey, what the heck? It's about time I moved in that direction. Don't all great artists? The gallery also claimed to have many clients who were museum curators who bought installation work. Ok.....done!

And video..... they want a video from me. Not just a bio.... but a video art piece. Great again! I've had a video I've wanted to do in my head for years, so here at last was my chance. The gallery owners say that they had numerous clients for videos who pay from $5,000 to $7,000 dollars for a single copy.

Wow!

Ok..... sure... I was skeptical, but I wanted to believe so badly! Here I was heading to New York as a video and installation artist. Pretty cool, huh? Obviously, New York was just waiting for me!

Unfortunately, the Universe has a tendency to punish such hubris. Lessons need to be learned the hard way. Let me also clarify. This story is not about money... it is about the validation that a New York gallery can impart to those of us outside of New York.

I spent the next 6 weeks making all the components for the big day. My regular art is quite labor-intensive. Throw in the video and I was kept very busy until the day I left for New York.

Now the fiasco begins.

Day One

My team gets to the SOFA space an hour ahead of me and calls to say that no one from the gallery is there, and that all the artists are confused as to where to install.

We knew the exact size of the space for our installation, so they have measured and decide that only one space is the correct size. They begin to install.

I arrive to SOFA..... not as an observer as in years past, but triumphantly as an honored participant! I get to the space and discover that my space is the only space in SOFA that actually faces the wall... not the aisle where the people are.

The owners arrived about this time and tell me not to worry. Everybody sees everything at SOFA. "Jeez," I think, "but what can I do? At least I'm at the show....and it won't be the first time I've overcome bad placement in a show." I’m just happy to be invited to this party.

Now that the owners have arrived it is clear that they have had a huge fight. They are a couple going through a painful and public divorce. For the purposes of this story we will know them as Joe Young and Joe Old.

Not surprisingly, Joe Old is the one with all the money, but Joe Young is the one with all the power. For some inexplicable reason Joe Young (and I mean young) has been given total control over the gallery, without a clue how to accomplish this. He is on a mission to become the cutting edge gallery in Chelsea. (see prior notes regarding hubris).

By this time my team and I have installed my work..... a little tight and very hard to find, but I'm at SOFA . So Joe Young says, "Hey, before you guys leave, could you help us move a pipe? Its another artists work, but its over at the gallery and we have to move it here."

"Ok, sure. We'd be happy to help!" and besides, I'm dying to see the gallery space. (I know.... and no, I hadn't ever seen the gallery).

It turns out there are six of us riding down in an SUV. Wow...this must be some pipe! This could not have been truer, as the pipe is 4ft high, 2ft. wide and 1/2 inch thick. This is one heavy pipe! With all of us helping (except the owners...who have strangely disappeared again), we get the pipe in the SUV. Now we enter the gallery.

It is in a wonderful building, filled with wonderful galleries. This is a good sign. This is a building I have always wanted to show in. Ok.... they have the smallest and most buried space in the building, but they are still here. We enter the gallery.

Standing in the middle of the gallery is a coat rack filled with coats and a picnic table covered in trash. Trash also covers the floor. Empty Coke bottles, mustard jars, Boone's Farm, Cheez-Whiz...... it's seems like some exploded leftovers from a Tennessee picnic.

"Oh my God!", I say, "What on earth happened!?!?".

"What do you mean?" they say, "This is an installation. Its all about consumerism."

Oh Lord.... I remember when kids would put a box of S.O.S. pads on a pedestal and called it consumerism art.... is that fad back again? I sincerely hope not. Maybe I'm just out of touch; I mean after all, I'm a non-New York artist. What do I know?

My work has been thought out for weeks. Every piece has been scrupulously made and the installation subtly and thoughtfully tells a story common to us all. Maybe this heavy-handed consumerism approach is back again. I hope that I haven't made a mistake!

OK.... home to bed... I want to get lots of sleep before the big day.

As I walk into the booth the next day, I see that the other artists showing with my gallery have had time to install their work.

Boy have they!

I should say that there is a glass artist, a wood artist and a ceramic artist sharing my booth (and who also share my fate).

In front of the booth they have forced the ceramic artist to put her work into a structure that looks like a puppet theater.... complete with red velvet curtains.

Next to me is another pile of picnic refuse as well. It seems that it is the brainchild of the gallery owner.

It's what he thinks the wood guy should be doing. "It's all about chaos theory," he says. Well... I agree about the chaos part.

On the other side of me is a huge installation titled "Dictator." This consists of two walls completely crammed with coffee mugs, t-shirts, pillows, thongs and boxer shorts with the word "Dictator" on them. Again..... its about consumerism (Ok..I get it).

The giant pipe is also there.

Well..... it's now very very tight to get into the booth..... maybe five feet of entry space left. Let's see..... how can they close it off more?

I know!...... let's paint a foozball table grey and completely cover four of the last five feet of entry space.

And let's put DVD players right at that last opening (although they never show the video that they had claimed they would show to curators).

The booth looks like a grocery store and a Thrift shop have mated. If you manage to wiggle in to see my work, it's extremely difficult to see it at all because it is surrounded by so much stuff.

The owners have also hired three youngsters to "sell" at the gallery. One seems to know what she is doing.... the other kids just talk about who's getting laid by whom while all the while congregating at the only one foot entrance into the booth.

Its now 5PM and the big black tie opening event has started.

All the big collectors, museum curators, etc. are there....... but not the owners of my gallery….they’ve been missing all day.

At 5:15; however, another 20-year-old kid runs in and says he's supposed to be hanging there too.

He's a painter..... and this is definitely not a painter's show..... but up go his paintings.

Nothing makes sense in this explosion.

There is no theme, there is no order (and there is no way to get into the space).

The owners finally arrive towards 6PM. In the meantime the painter has begun to drink heavily.

The owners have decided that their space was too simple, so in order to create a "happening" they have hired a performance artist. She is from Italy. It is her job to walk around the entire event and put red dots on all of everyone else's artwork. This is intended to create a buzz.

And buzz it creates…… people are getting very upset.

So upset that the security director escorts her out of the event. The security director believes that I am to blame because I am the only one at the booth (the owners and other artists are again no where to be found).

I assure him I am not; though this is not our last contact.

The painter.... very upset over the gallery's seeming inability to sell even one painting, has really started drinking. In fact he has had five large wine glasses filled with Scotch.

Straight Scotch.

The security director comes over to me again. "Is this your boy? " he asks. "He's peeing on the ground right over there. We are going to put him out for good."

Dear God……he is certainly NOT my boy!

I had better at least try to get him into a cab. After all, he is one of my fellow artists from the gallery (The owners are still invisible).

I go outside and try to talk some sense into him and send him home to his girlfriend. He is immediately hot headed..... so I start to go inside. At this moment, finally, one of the gallery owners comes outside; Joe Old.

Bad timing.

The painter is really wound up about promises not kept by the gallery. The painter takes a swing at the gallery owner and knocks his cell phone into traffic. The painter dives for it, narrowly missing being hit by a passing cab.

The painter grabs the cell phone, and throws it onto the roof of the neighboring building. He then turns around and punches the gallery owner full in the face. The gallery owner runs inside. Now I am left with a screaming, flailing kid on the middle of Lexington Avenue.

I'm holding him back as he rants.

It looks like I'm having a huge lover's quarrel with my child bride.

As this thought crosses my mind, I look up.

There... on the corner... is the entire staff of the most prestigious gallery for my kind of work in New York. They do not look amused.

Great! .... perfect.... just what I needed to boost my career.

How on earth could this get any worse?

I know.... let's have the cops join us, who have arrived on the scene with flashing lights.

Ok...that's worse!

The cops don't know what's happening; they are just responding to a call.

Their belief is that he and I are both creating a disturbance. I tell the cop that I barely know this kid, I'm just trying to get him a cab. The cop says that I have one minute to do so or he will run us both in.

Great!

I hail a cab and pay the driver $40 out of my pocket to get this kid to Brooklyn; why I will never know. The cops finally say that I can go.

By this time the huge black tie party is over... my collar is torn... and I'm out 40 bucks. Time to go home, lick my wounds, and try again the next day. Thus ended the longest day in my art career.

Day Two

Day two started off much better. I was full of hope and determined to cast off the bad mojo from the first day. I arrived on time, and again... no owners.

But hey....who needs owners? I'm at SOFA NY... I can sell my own work. Which I did almost immediately. Three pieces in fact. Alright.... this is gonna be great! Then in comes the three staff members.

Now the booth is too packed to get into again. This is when the testimonials begin.

All throughout the day artists keep coming up to me and pulling me aside. "Get your stuff out while you can!" they'd say, or "I had to sue them to finally get my money!" This happened six times that day.

And these are artists I respect; Where were all these guys when I was asking about this NYC the gallery in the first place?

And it's not just artists.

Its other gallery owners. They look at me consolingly and tell me how sorry they are for me. They, without exception, advise me to get my work out of there before the train wreck occurs. I sold nothing more that day; I left with a sick feeling.

Day Three

Day three continues along those lines, only today it's the other artists and gallery staff that offer tales of terror.

The most lucrative artist they show there tells me that while he has sold lots for them, he has yet to receive money. He is told his work is hanging in a millionaire's home and that the gallery hasn't been paid yet.

This was three months ago.

He also tells me that the owners are furious with me. "Why?," I ask.

"Because you sold three pieces of artwork."

Huh?

Seems that if you sell artwork and they don't, they get upset...supposedly because it points out they can't sell.

Huh? They hadn’t even come to work that day till 4pm.

The woman whom they have hired to run the gallery is pretty sharp. She tells me the ship is sinking... try to get your work out ASAP.

She says that they are the laughing stock of the Chelsea art scene. This is their employee.

Lord knows we are a laughing stock here; except to the art collector who came into the booth to loudly accuse the owners of stealing a 100 dollar bill off of his dresser while they were in his home.

Day Four

Day four is known as "Skank Day."

The owners have decided that they need more attention. They decide to hire two 20-year-old girls and have them dress in thongs and skimpy t-shirts and hand out water bottles with the booth number on it.

Being that the average age of collectors attending the event is 65, you can imagine how well this is received. Enter my new friend (the security director); Out they go.

Today the owner yells at the staff, "We are NOT here to sell artwork.... we are here to sell the gallery!,"

That sure explains a lot.

Wish they had told me that going into this. I am standing in the middle of a three ring circus, and there is nothing I can do about it.

Last Day

Word has gotten out about this train wreck. Everyone comes by to offer advice. Unfortunately, I can't leave with my artwork because I have a contract with the gallery. People tell me to break my contract, but I know I can't. I check into the booth before heading to the train station. Since before I'd arrived and all during this event I have told the owners how to move my work when they de-install.

Now as I leave they start freaking out... they are uncomfortable moving it. God knows what will happen.

I am writing this on the train returning home. I have no idea if I will ever see my artwork or my money ever again. The general consensus was that they will shortly file for bankruptcy and fold me into that. So much occurred that I didn't even report here (in the interest of brevity). Suffice it to say they lied to me daily and obviously.

So..... you non-New York artists out there: Let this be a lesson to you all.

Learn the easy way for a change; not the hard way. Maybe being a regional artist is not so bad. And when you plan to stretch to the Big Apple, try and get a recommendation first. This was an incredibly costly mistake for me, but I won't stop trying. You can be sure though.... the next time I will have a lot more questions to ask.

A true horror story uh? I find it interesting and part of "get a New York gallery" goals of most artists that Tate, arguably one of the best-known, if not the best known contemporary artist in the Greater DC area these days, and represented by galleries in Los Angeles, Chicago, St, Louis, Miami, Santa Fe, Philadelphia, Bethesda, London and of course DC, and whose hi-tech self-contained video installations consistently sell well in art fairs, still has to find a good New York dealer (this NYC art critic has a suggestion for a NYC dealer).

Major Andy Warhol collection stolen in Los Angeles‏

Between September 2 & 3, 2009, a home was burglarized along Angelo Drive in West L.A. owned by businessman Richard L. Weisman. The property taken included a multi-million dollar collection of (11) 40" x 40" original artworks by Andy Warhol. Ten of the artworks depicted famous athletes and were made between 1977-79. A Warhol portrait of Mr. Weisman was also taken.

A reward of $1 million has been offered for information leading to the recovery of the art. Contact the LAPD Art Theft Detail: Detectives Hrycyk or Sommer at (213) 485-2524 or (877) 529-3855.

You can view the stolen art here.

Weiss at Nevin Kelly

Ellyn Weiss' new work, titled "Dark Matter" will be shown at the Nevin Kelly Gallery from September 17 - October 17. I am told that it's all made of tar!

Opening reception, Thursday, September 17, 6 - 9 pm. Nevin's new space is right at the Columbia Heights metro.

Keeping a lid on cynicism and irony

... approach the art of seeing... in the spirit of an amateur... in the original sense of the word, as a lover, someone who does something for the love of it, wholeheartedly. The best amateur has the skills of a professional but true professionals stay amateurs at heart, keeping a lid on the cynicism and irony that can pass for sophistication in some circles. Skepticism is useful, and for critics, necessary. But in The Dehumanization of Art, in a section aptly titled "Doomed to Irony," the Spanish philosopher José Ortega y Gasset laments how our aversion to pathos and dependence on irony "imparts to modern art a monotony that must exasperate patience itself."

Michael Kimmelman
The Accidental Masterpiece

Tonight: Lida Moser at the Arts Club

Do this tonight!

Opening tonight and through Sept. 26, 2009, the Arts Club of Washington, DC (in the McFeely Gallery) will be hosting a solo exhibition of legendary American photographer Lida Moser, who now lives in retirement in nearby Rockville, Maryland. The opening reception is from 6:30-9:00PM.

This almost 90-year-old photographer is not only one of the most respected American photographers of the 20th century, but also a pioneer in the field of photojournalism. Her photography has been in the middle of a revival and rediscovery of vintage photojournalism, and has sold as high as $4,000 at Christie's auctions and continues to be collected by both museums and private collectors worldwide. In a career spanning over 60 years, Moser has produced a body of works consisting of thousands of photographs and photographic assemblages that defy categorization and genre or label assignment.

Additionally, Canadian television a couple of years ago finished filming a documentary about her life; the second in the last few years, and Moser’s work is now in the collection of many museums worldwide.

She was once called the "grandmother of American street photography" by an art critic, which prompted a quick rebuttal by Moser, who called the writer's editor and told him that she wasn't the "fucking grandmother of anything or anyone, and would he [the writer] ever describe Ansel Adams or any other male photographer as the 'grandfather' of any style."

Tough New Yorker.

I once sold one of her rare figure studies to a big famous photography collector from the West Coast (who collects mostly nude photography). There were four or five prints of the image, taken and printed around 1961, but one had all the markings and touch-up evidence of the actual photo that had been used by the magazine, and thus I sent him that one.

He called me to complain that although he loved Moser's work, that he wasn't too happy with the retouching, and could I ask Lida for one of the untouched photos.

Now, you gotta understand that these images were taken and touched-up by hand for publication in a newspaper or magazine (since they were nudies, the latter probably). They were not touched up for a gallery or an art show - they were "battlefield" prints of a working photographer.

I called Lida and explained the situation over the phone. "Sweetie," she said to me in her strong New York accent, "you call that guy right back and tell him that you talked to Lida Moser and that Lida Moser told you to tell him: Fuck You!"

I didn't do that, but just sent him an untouched vintage print.

Tough New Yorker.

Lida was a well-known figure in the New York art scene of the 1950s, 1960s, and 1970s, and a portrait of Lida Moser by American painter Alice Neel hangs in the permanent collection of the Metropolitan Museum in New York City. Neel painted a total of four Moser portraits over her lifetime, and one of them was included in the National Museum of Women in the Arts' "Alice Neel's Women" exhibition.

"Charles Mingus in his Apartment in New York City", c. 1965.

Among her body of works there are also loads of photographs of well-known artists and musicians that either hung around Lida's apartment in NYC or who were part of her circle of friends.



Lida Moser's photographic career started as a student and studio assistant in 1947 in Berenice Abbott's studio in New York City, where she became an active member of the New York Photo League. She then worked for Vogue, Harper's Bazaar, Look and many other magazines throughout the next few decades, and traveled extensively throughout the United States, Canada and Europe.

In 1950 Vogue, and (and subsequently Look magazine) assigned Lida Moser to carry out an illustrated report on Canada, from one ocean to another. When she arrived at the Windsor station in Montreal, in June of that same year, she met by chance, Paul Gouin, then a Cultural Advisor to Duplessis government. This chance meeting led Moser to change her all-Canada assignment for one centered around Quebec.

Armed with her camera and guided by the research done by the Abbot Felix-Antoine Savard, the folklorist Luc Lacourcière and accompanied by Paul Gouin, Lida Moser then discovers and photographs a traditional Quebec, which was still little touched by modern civilization and the coming urbanization of the region.

Decades later, a major exhibition of those photographs at the McCord Museum of Canadian History became the museum’s most popular exhibit ever.

She has also authored and been part of many books and publications on and about photography. She also wrote a series of "Camera View" articles on photography for The New York Times between 1974-81.

Her work has been exhibited in many museums worldwide and is in the permanent collection of the National Portrait Gallery, London, the National Archives, Ottawa, the National Galleries of Scotland, National Portrait Gallery, Washington, DC, the Library of Congress, Les Archives Nationales du Quebec, Corcoran Gallery, Phillips Collection and many others.

Moser was an active member of the Photo League and the New York School.

The Photo League was the seminal birth of American documentary photography. It was a group that was at times at school, an association and even a social club. Disbanded in 1951, the League promoted photojournalism with an aesthetic consciousness that reaches street photography to this day.


"New York City, Office Building Lobby" c. 1965


If you are a photographer, do not miss this opportunity to visit the Arts Club (every DC area artist should visit this great place once in a while) and meet one of the women who set the path for all of you. If you just love the arts, Moser is also a walking encyclopedia of anecdotes and stories about the New York art world of the 50s, 60s and 70s.

The Arts Club show is curated by my good friend Erik Denker, the Senior Lecturer, Education Division at the National Gallery of Art, who is also an authority on all things Moser. The show is titled "The World of John Koch" and depicts Moser's portraits of the renowed New York portrait artist John Koch taken over a 20 year span from 1954-1974. These photographs are exhibited in Washington for the first time and are only one of two portfolios of the portraits ever printed by Moser (the other was given to the Koch widow once the painter died in 1974).


John Koch, Silver Gelatin print by Lida Moser, c.1970
Read the WaPo review of one of her DC solo exhibitions here.

The opening reception is from 6:30-9:00PM. Do not miss it!

Opportunity for Artists

Deadline: September 30, 2009

Washington Dulles International Airport's Airports Authority is seeking artists with previous public art experience to develop three site-specific artwork proposals for the International Arrivals Building. Deadline: September 30, 2009.

Metropolitan Washington airports Authority
Office of Community Relations
Art Program
Attention: Margaret Bishop
1 Aviation Circle
Washington, DC 20001.

For more information, click here.

From Craiglist's

Gallery space for rent in Dupont Circle area in DC. Check it out here.

Congrats!

To DC area artist Cheryl Derricote, as two of her glass houses were selected for the 24th Tallahassee International, at the Museum of Fine Arts in Tallahassee, Florida. Show is up through 9/27/09.

Here is slide show of the exhibition.

O'Sullivan on the Trawick Prize

"The Trawick Prize: Bethesda Contemporary Art Awards is a dirty show this year."

Read the Washington Post's art critic Michael O'Sullivan's review of this year's Trawick Prize here.

Excellent review by O'Sullivan and I agree with him in the sense that Molly Springfield's work continues to amaze not only by its technical virtuosity, but also by the conceptual edge that she continues to give to it.

And a bravo to to the prize's sponsor: Carol Trawick!

Opportunity for Artists

Deadline: October 26, 2009

If you read this blog then you know that I've been always very impressed with the BlackRock Center for the Arts gallery's 1500 square feet of exquisite gallery space. With its high white walls and beautiful windows strategically placed, this gorgeous gallery allows in just the right amount of natural light. BlackRock Center for the Arts is located at 12901 Town Commons Drive Germantown, MD in upper Montgomery County, about 20 minutes from the Capital Beltway (495).

They currently have a call to artists and the call is open to all artists residing in Maryland, Virginia, and Washington, DC over the age of 18.

Original artwork only. All work must be ready for sale and to be presented in a professional manner to the public at the time of delivery.

This call will cover exhibits in the gallery from September 2010 through August 2011. An exhibit may include one applicant or a combination of applicants, based on the judgment of jurors (i.e., 1 or 2 wall artists may be combined with a pedestal artist). A jury will select the artists and create eight exhibits to be included in the exhibit year. The jury panel is comprised of my good friend and gallerist Elyse Harrison, Jodi Walsh, and yours truly.

Jurying: First Week of December
Notification: Early January
Exhibit Year: Sept. 2010 – Aug. 2011

How to apply: All correspondence will be done by e-mail, so contact Kimberly Onley, the Gallery Coordinator at konley@blackrockcenter.org and ask her to email you a prospectus.

Don't wait to the last minute! Get the prospectus now!

Lest We Forget

"Studio View, 9/11"
Oil on Canvas c. 9/11/2001 by David FeBland

09/09/09 09:09:09

We experienced an unusual time warp yesterday: For a second it was 09/09/09 09:09:09.

Bailey took a cell phone image on the 9th second of the 9th minute of the 9th hour of the 9th day of the 9th month of 2009 at Tysons Corner Center in McLean, Virginia. This image is titled "Muslim Woman Shopping For The American Dream In Decline."

Did anybody else capture something special on 09/09/09 at exactly 09:09:09?

OPTIONS 2009

Please join the Washington Project for the Arts for the opening reception of OPTIONS 2009 on Thursday, September 17, 2009, from 6:00–8:00 pm at Conner Contemporary Art's new location at 1358 Florida Avenue NE 2nd Floor, Washington, DC 20001.

OPTIONS is a biennial exhibition featuring works by emerging and under-recognized regional artists without commercial representation. This 13th installment of OPTIONS is curated by Anne Collins Goodyear, Assistant Curator of Prints & Drawings, Smithsonian National Portrait Gallery and features work by Leah Beeferman, Jessica Braiterman, Graham Coreil-Allen, Younseal Eum, Andy Holtin, Sue Johnson, Kim Manfredi, Patrick McDonough, Jenny Mullins, Ding Ren, Matthew Smith, Polly Townsend, and Matthew Wead.

The exhibition will remain on view through October 31, 2009 and is open Wednesday through Saturday from 11:00am to 5:00 pm.

Artquotes

"A critic is basically an arrogant bastard who says 'this is good, this is bad' without necessarily being able to explain why."

Jonathan Jones
Art Critic
The Guardian

Annie get your camera

Celeb photog Annie Leibovitz may be losing the copyright to all her photographs and all her homes today...

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.

Update: More troubles:

Last week she came under fresh financial pressure when an Italian photographer sued her for allegedly stealing images he took.

Paolo Pizzetti sued Leibovitz in federal court in Manhattan, alleging she took material he shot at sites in Rome and Venice for her own use in an advertising campaign.

Read that here.

New DC art space

Vivid Solutions DC is a new fine arts space to the Historic Anacostia District. They also offer the new digital printing technique, Digigraphie. In fact, they are the first Digigraphie certified lab in the United States!

The space is located at 2208 MLK Ave, SE and is currently open by appointment or chance; Contact Andrea Hope for a look at the current exhibit and a tour of the facilities. Vivid Solutions "offers high-end digital printing for fine art utilizing cutting edge Epson technology, with salon-style exhibition space highlighting digital/photographic art."

They are currently showing a solo exhibition of works by Chandi Kelley, running through tomorrow, September 8th.

Her "Timelines," inspired by the theme of memory and mystery, are constructed of bookends, antique books and wallpapers reminiscent of vintage patterns. Methodically photographed, the spines of the books function as a timeline reading from left to right. The text and image combine in a striking, evocative collection.

Find out more about Digigraphie here.

Things not to do at an opening

This happened this past weekend at an art opening in the Mid Atlantic region.

An artist has been begging a particular gallery to include some of his work in one of the gallery's shows. The artist has a BFA and an MFA, both from really good art schools, and has recently moved to the area and wants to establish himself in this new area. The gallery is by far one of the top galleries in the city.

Finally the gallerist gives in and includes the artist in a group show. On opening night the show does well and several major pieces are sold (none of the artist's work). In fact it is the gallery's second best selling show ever and a welcomed relief in these austere financial times.

The opening is well-attended and supposed to end at 9PM, and the artist hasn't bothered to show up, but finally makes an appearance towards the end, around 8:30PM.

It appeared that he'd been celebrating in a nearby bar, and is quite inebriated. To make matters worse, he's been handing out show cards at the bar, and inviting all the bar flies to come to the gallery and enjoy free wine. Quite a few of the bar flies accompany the artist and they walk from the bar to the gallery.

They make quite an "impression" on the rest of the art clients still at the gallery, and soon all, except the barflies and the artist, leave as 9PM approaches. At 9PM the gallerist tells the artist that the opening is over and the gallery needs to close.

The artist begs the gallerist to stay open a little longer (and here's where the gallerist makes a huge mistake), and the gallerist agrees, perhaps believing the artist's claim that one of the bar flies will purchase a painting; and more wine flows.

Soon it is clear to the gallerist that the artist's posse is just interested in free wine and she kicks them all out and closes the gallery. In the process of doing so, some of the drunks become nasty to her.

Chances of this artist ever being invited to exhibit at this gallery again? The same chance as a snowball in hell.

Chances of this artist (once the gallerist tells the story at the next dealers' association meeting) of getting invited by another gallery? Slim to none.

Moral of the story? Pretty obvious, uh?

Tell Congress

Tomorrow the U.S. Congress is scheduled to return from their summer recess and the Senate will begin consideration of S. 1023, the Travel Promotion Act of 2009. The House of Representatives is expected to take up this legislation later this year. Please tell your Member of Congress to support inclusion of the nonprofit arts and culture sector in this bill!

Andersonian Video

Just watch it, will ya! Today is my birthday and this is one heck of a great B-day present!

Announcing the United States Mint’s 2009 Call for Artists

Application Period One: Nov. 9, 2009
Application Period Two: March 8, 2010
Application Period Three: July 6, 2010

The Call for Artists was officially launched last Friday, August 28th, and their brand new website which launched at this time as well. The Call for Artists invites artists from all over the country to apply for a paid position as an Associate Designer in the successful Artistic Infusion Program (AIP). Artists in the AIP program have the opportunity to take part in American history through the contribution of designs for coins that will be enjoyed by all Americans. In the past, AIP artists have submitted successful designs for coins released through the 50 State Quarters® Program and the Presidential $1 Coin Program. This year artists can apply online! The program will run year-long with three cut-off dates for applicant review. The first cut-off date is November 9th, 2009.

Here is a short description of the program:

The United States Mints invites artists to be a part of American history through coin design. The Artistic Infusion Program (AIP) provides gifted artists the opportunity to contribute creative and beautiful designs for coins that will be enjoyed by all Americans. AIP artists have submitted successful designs for coins released through the 50 State Quarters® Program and the Presidential $1 Coin Program. Honorariums are $2,000 for each design submission and $5,000 for each selected design. Visit www.usmint.gov/artists to apply.

Visit this website for more information.

The Art Consultant Is In

Allison Marvin has made a career out of helping people do just that. She is the founder of Sightline, an art consulting business started in 2004. Marvin works with clients across the country, helping them navigate the art world and offering guidance on buying works for their homes and offices. She also leads tours of art spaces and introduces beginning and seasoned collectors to galleries and dealers.

... Marvin recently spoke to us from her home office about collecting, hanging and framing art, and where to go to find it in the first place.

Read the WaPo article on Marvin and her advice here.

Marvin has some really good solid advice, but I find it interesting that in listing the resources, and I know that newsprint space is an issue, that Marvin left out her own backyard's galleries in Bethesda, and no mention of Georgetown or R Street, or the various artists cooperatives (since price point was a focus of the piece) and for that matter the Torpedo Factory. If she's not aware of these places she's missing some of the best priced good artwork around town. But I bet she had a list three pages long which was culled by the WaPo to the 2-3 best-known galleries DC, all great spaces by the way.

Framing? Average cost for a custom framer in the DC area is about $70 an hour for labor on top of the materials' cost. Is there such thing as an affordable custom framer?

You bet! Drop me a note and I'll refer you to the most affordable custom framer in the area - prices are about 75% cheaper than any other framer in the capital region... and I've tried them all for years before I found this most affordable joint, just a few minutes from 495. And when I say 75% I am not exaggerating... just ask all the photographers who do the annual DCist Exposed show. Example: Custom matted and framed photo to a 16x20 inches size, black metal Nielsen moulding under glass, pH-balanced acid free white museum mat and pH-balanced, acid free foam core backing board: $25-$30 bucks, not $100 or $150 which is what you'll pay at most other custom framers around the nation.

Talking about decorating... decorating a baby's room is somewhat of an issue for someone like me. Having been forced to look at dozens of saccharine sweet animal prints and reproductions for the baby's room, I decided to create my own saccharine sweet baby paintings for Anderson's room; at least he'll have original artwork on the walls:


Andersonphant, Acrylic on Canvas. 24 x 24 inches. Circa 2009

Anderson Monkey, Acrylic on Canvas. 24 x 24 inches. Circa 2009

Trawick Prize Winners Announced

The Trawick Prize: Bethesda Contemporary Art Awards announced the top four prize winners on Wednesday evening during the exhibition’s opening at the Fraser Gallery.

René Treviño from Baltimore, MD was awarded “Best in Show” with $10,000; Molly Springfield of Washington, D.C. was named second place and was given $2,000; Jessie Lehson of Baltimore, MD was bestowed third place and received $1,000 and the “Young Artist” award of $1,000 was given to Hannah Kim of Falls Church, VA.

Entries were juried by Dr. Doreen Bolger, Director of The Baltimore Museum of Art; Kevin Everson, Associate Professor at the University of Virginia and Joanna Marsh, The James Dicke Curator of Contemporary Art at the Smithsonian American Art Museum.

A public reception will be held on Friday, September 11, 2009 from 6-9pm in conjunction with the Bethesda Art Walk. The exhibit will be on display through October 3, 2009. The Fraser Gallery is located at 7700 Wisconsin Avenue, Suite E and gallery hours are Tuesday - Saturday from 11:30am-6pm.

The Trawick Prize: Bethesda Contemporary Art Awards was established by the amazing Carol Trawick in 2003 to honor the work of local artists and has become the region's top art prize and I am a huge fan of Carol Trawick.

The Trawick Prize is one of the first regional competitions and largest prizes to annually honor visual artists. To date, The Trawick Prize has awarded over $98,000 in prize monies and has received over 2,400 artist submissions. Founder Carol Trawick has served as a community activist for more than 25 years in downtown Bethesda; including working on legislation to designate communities in Maryland as Arts & Entertainment Districts. Additionally, she is past Chair of the Bethesda Arts & Entertainment District, past Chair of the Bethesda Urban Partnership, current Chair of Strathmore and Founder of the Jim and Carol Trawick Foundation.

Seth Rosenberg

On Tuesday, September 1, 2009, District Fine Arts lost its founder Seth Rosenberg to an apparent heart attack in Cleveland, OH at the age of 56.

A memorial service will take place this Sunday, September 6, 2009 at 11:30 am at the Mueum of Contemporary Arts in Cleveland, OH. The address is 8501 Carnegie Ave. #2, Cleveland, OH. 216-421-8671.

DFA is currently planning a memorial for the Fall. More details to follow when they decide on a date.

Seth had moved to Cleveland, OH four years ago and earlier this summer, based on a portfolio of his new paintings, he received a $20,000 Creative Workforce Fellowship from the Cleveland Partnership for Arts and Culture.

CuDC looking for intern

Cultural Development Corporation (CuDC), a nonprofit organization that creates opportunities for artists and arts organizations that stimulate economic development and improves the quality of life in the DC area, is accepting applications for a Marketing & Communications Intern. CuDC makes space for art. They manage Flashpoint and Source, two facilities that offer artists and arts organizations the tools and services, in conjunction with affordable space they need to thrive. They also facilitate artist housing and other arts development projects. This position reports to the Communications Manager, providing a unique opportunity to support CuDC’s institutional and programmatic marketing and communications efforts.

Responsibilities:

· Coordinating social media strategies for CuDC and its various programs;

· Creating and distributing weekly e-newsletter and compiling content for bi-monthly enewsletter;

· Updating content for organization websites, as well as content for blogs or social networking sites;

· Assisting with marketing around special events and activities;

· Researching online and print media outlets;

· Monitoring and archiving media coverage;

· Assisting with special events;

· Assisting with other administrative tasks, as appropriate.

Qualifications:

· Undergraduate or graduate student preferred;

· Interest in marketing, media and communications;

· Excellent writing & editing skills;

· Savvy using traditional and new media tools;

· Attention to detail;

· Comfort working in a cooperative environment that represents a broad range of artistic, cultural and social points of view; and

· Knowledge of Adobe Photoshop, InDesign and/or Illustrator a plus.

Commitment: Flexible schedule; minimum of 15 hours per week.

Compensation: Stipend

To apply: The deadline for applications is September 25, 2009.

To apply, submit a resume and writing sample with cover letter to emma@culturaldc.org. Writing sample should be 250 words or less. Mention “Communications Intern” in the subject line.

CHAW Arts Ball

The Capitol Hill Arts Workshop (CHAW) is holding its eighth annual Arts Ball fundraising gala on Saturday, October 3, 2009 from 7 p.m. to 10 p.m. at its historic building on Capitol Hill. The Arts Ball supports CHAW’s tuition assistance, outreach, and education programs. The theme for this year’s event is Indian Nights and CHAW’s building will be transformed into an Indian odyssey, including a Taj Mahal gallery of art-to-be-auctioned, entertainment in the Bollywood Theater, dancing in the Bombay Palace, and shopping in the Delhi Bazaar. The silent auction and raffle features dinners at the Indian Embassy, airplane tickets to Italy, works from local artists and members of the Capitol Hill Art League, unique experiences, and a wide array of prizes from retail items to gift certificates and jewelry.

Tickets are $50 per person in advance and $75 at the door and can be purchased at www.chaw.org, by calling the Capitol Hill Arts Workshop at (202) 547-6839, or email to victor@chaw.org. CHAW is located at 545 7th Street SE, the corner of 7th and G Streets SE

Wanna go to an artsy wine tasting this Friday?

Touchstone Gallery will be having a closing reception for their 90 artist juried group show "My Space on 7th" together with a wine tasting offered by the Washington Wine Academy.

It's all free. Art & Wine starts at 6pm and goes through 8pm this Friday, Sept. 4th.

Labor Drawings

And nu?... you all knew that if I was having a new son at my early middle age, than in addition to a million photos I'd be doing some drawings, right?

Click on the drawings for a larger version of them... now to do some baby paintings for the boy's room...

Alida in Labor (Birthing Drawing Series).
August 27, 2009. Ink on paper by F. Lennox Campello

Alida after her Epidural (Birthing Drawing Series).
August 27, 2009. Ink on paper by F. Lennox Campello

Anderson Campello after he was cleaned up (Birthing Drawing Series).
August 28, 2009. Ink on paper by F. Lennox Campello

Hiltonian Lawsuit

Socialite and member of the prominent Hilton family Ann Hilton is the target of a lawsuit brought against her by artist Alexander Presniakov alleging she stiffed the artist out of $10 million in original artwork.

Read the Reuters story here.

Bird Brain

Is art criticism so easy that a pigeon can do it?

... Here's what happened. Shigeru Watanabe (a psychologist at Keio University in Tokyo and possibly a man in league with the birds) set up a nefarious experiment. Watanabe showed children's paintings to pigeons; a panel of adults had deemed each work either good or bad. He trained the pigeons to distinguish between them with a system of tasty rewards. When the pigeons pecked correctly, he gave them some seed. Later, he presented 10 paintings to the birds they had never seen. Five of these paintings had been deemed good by humans, five bad. The pigeons recognized the good paintings as “good” twice as often as they recognized the “bad” paintings. In short, they came off as pretty good critics.

Read Morgan Meis at Drexel University's The Smart Set here.

New Maryland gallery reviewing portfolios

Red Studio is reviewing portfolios for their upcoming gallery space which will be in Antique Row, Old Town Kensington, Maryland. Open to all artists and genres such as interdisciplinary, traditional, experimental, and functional art are welcome.

For art submissions:
Shara Banisadr
Red Studio Gallery
Antique Village
3758 Howard Ave
Kensington MD 20895

Or email shara@redstudio.org

From the LAPD Wanted List

Do you recognize this man?

The Los Angeles Police Department’s (LAPD) Art Theft Detail is searching for art dealer Matthew Taylor, 41, who lives in Vero Beach, Florida. An arrest warrant has been issued for Taylor for grand theft and receiving stolen property in connection with the theft of a Granville Redmond painting. Bail has been set at $500,000.

Taylor has worked as an art dealer who would visit various art galleries, obtaining art on consignment. In October of 2006, Taylor visited the L.A. Fine Art Gallery in Los Angeles where he was known to the owner and staff. Detectives believe that Taylor took advantage of this trust to remove [an] available painting out of a storage room that is not accessible to the public. He then borrowed a car and went to an art show in Santa Monica where he offered the painting for sale to William Karges who owns art galleries in Beverly Hills and Carmel. Taylor offered the painting for sale out of the trunk of his car in the parking lot, stating he was selling it for his mother.

Karges bought the painting for $85,000 and sold it to a client for over $236,000. The painting was not discovered missing and reported to the police until after Karges sold it to a client. Detectives posted a crime alert on the LAPD website. Karges gallery personnel stumbled upon the alert in 2007 and contacted police.

In 2009, detectives finished their investigation and obtained an arrest warrant for Taylor. However, before Florida police could respond to Taylor’s residence to take him into custody, detectives learned that Karges’ attorney had inexplicably tipped off Taylor of the criminal charges filed against him. As a result, police have thus far been unable to locate Taylor. Taylor’s attorney, Harlan Braun, has tried to arrange for Taylor’s surrender on several occasions but Taylor has repeatedly failed to appear.

During the investigation, L.A. Fine Art Gallery recalled several other thefts of art that coincided with visits to the gallery by Taylor. In 2004, paintings by Johann Mertz and William Malherbe, valued at $40,000, were stolen from the front showroom. A $20,000 Lucien Frank painting similarly disappeared from the showroom in 2006. Taylor had visited the gallery during both time periods.

Detectives would like to speak to anyone who may have been victimized by Matthew Taylor, who has also used the name Matthew Taylor Nelson. Detectives are also searching for Taylor’s mother, Patricia Taylor, 76 years old, to determine if she is being exploited by her son. Patricia is believed to be in poor mental and physical condition.

Read the LAPD report here and see images of the stolen paintings here.

One Sunday when I was sitting the desk at my old gallery in Bethesda, I got a phone call from a lawyer who explained that he was looking for Mr. ___________, whose name I recognized as a former well-known former DC art dealer, whose tendrils still have offspring in the DC art world.

The lawyer wanted to know if I knew that dealer. I told him that I knew of him, but that he predated me by at least a decade, and that I had never met the man. He then explained that he was trying to track the art dealer in question, as he had been hired by a former client of said dealer, who had been burned in a somewhat interesting scheme.

I asked him for details.

Apparently the DC art dealer had sold a small Picasso watercolor (or was it a set of prints?) to a collector for (all $ figures are for example purposes) $100,000. A couple of years later, the dealer called the collector and said that he had someone interested in purchasing the Picasso for $200,000.

The collector declined, and the art dealer called a few days later and stated that the interested party was now offering $300,000.

And so the Picasso was returned to the DC gallery, where the dealer told the collector to wait for the sale to take place.

Apparently the sale did take place, but for around $75,000 to a second buyer; a damned good deal for a Picasso piece. The DC art dealer then closed up shop.

So essentially, at least according to this lawyer's telephone story, the Picasso painting was sold twice to two separate collectors and the dealer kept both payments.

The police recovered the painting from the second poor buyer and returned it to the original owner.

The second buyer was the one burned in this deal and the one who hired the lawyer to track down the art dealer; I'm not sure if/why the police were not the ones doing the tracking down.

Keep your eyes on your fries.

Art Censorship?

I'm hearing some rumblings about what seems to be an overt form of art censorship in a regional area art gallery. More details as I dig out more info.

Wanna go to an opening in Frederick, MD?


Opening Reception: Saturday, September 5, from 5 - 8 pm at the Artists' Gallery, at 4 East Church Street in Frederick, Maryland.

"Minimalist yet complex, this exhibit is a showcase of Robert Sibbison's sculptures characterized by the shifting relationships between regular and irregular forms and space. Patterns are established, evolve and mutate within the deceptively simple forms. The play of light and gravity on steel and wood create visual ambiguity, beauty and tension. The result is a synergy of simple parts adding up to a compelling whole.

Robert Sibbison's work has been honored with national grants, commissions and prizes including a National Endowment for the Arts individual grant, and a large outdoor sculpture commissioned by Dayton Art Institute in Dayton, Ohio as part of their permanent collection. He received a BFA from the University of Colorado and a Masters of Fine Art from Cranbrook Academy of Art and has taught at various private schools and public universities. Robert is currently an adjunct professor at Frederick Community College, Frederick MD."

ICAFair DC09 Canceled

Citing the economic climate, the third iteration of the International Caribbean Art Fair, scheduled to be in DC next month, has been cancelled.

Pink Linin'

If you haven't seen the new Pink Line Project website, then you're missing one of the best resources for the visual arts in the nation's capital region.

And if you're a gallery or art PR person and you're not sending Philippa P.B. Hughes all your art press releases for the site's most excellent calendar, then you're missing out on a great venue to spread the art word.

Visit it here.

Economist on the Torpedo Factory

The Economist visits Alexandria's Torpedo Factory.

Don't anticipate anything game-changing or jaw-dropping here. Expect plenty of cats and cows in different media, as well as watercolours of beach houses, ersatz Abstract Expressionist paintings, stained glass made for the walls of large suburban houses, baubles and knick-knacks and thingummies galore. All of it is skilfully done; most of it is pleasant.

The photography is an exception: the Multiple Exposures Gallery is first-rate, displaying not merely beautiful pictures but inventive techniques as well. On a recent visit the gallery showcased landscapes, including an especially arresting wide-angle aerial shot of a field in Fujian after a storm. Crops glinted in the rising sun like rows of wet sapphires, the scalloped grey clouds echoing the terraced farming beneath.

Read the whole article here.

The last paragraph of the Economist article:

The Torpedo Factory’s biggest draw, however (particularly for visitors with children), is not on what is sold but in the demystifying access visitors have to artists. While the galleries function traditionally, the artists work and sell out of the same studio; their raw materials and works in progress—the artistry behind the art—are all on display. Many of them are happy and eager to talk; one was soliciting the help of passers-by to complete a work (she wished to know how to say and write a certain phrase in Hebrew vernacular—a quest that might take time to complete in a yachty southern suburb). A metal sculptor sat on a stool patiently working a piece of metal back and forth in his hands. The centre of his studio was filled with a huge hollow sphere made from hundreds of cylinders of perhaps anodised aluminium. It seemed we were witnessing the first step in a thousand-mile march.

Tate in Neural

Europe's Neural magazine reviews Tim Tate.

Read the review online here in English and here in Italian.

Ace

Anderson Lennox Franklin Lars Timothy Angus Pict Eric Florencio Brude James Tiberius Campello Anderson Cruzata Jaspersen Alonso Zaar Marrero Karling Comba Noren Dalke Hartsell y Lennox. Circa August 28, 2009. Flesh and Blood. 20.5 inches by 8lbs 2 oz. NFS

It's a boy!

I am a father again! Welcome to the world Anderson Lennox Campello, born today, 28 August, 2009 at 0325AM after putting his mom through 41 hours of labor!


In the Cuban tradition I am giving him a ton of names... so although officially his name is Anderson Lennox Campello, his real name is Anderson Lennox Campello plus he also has these for the family record: (these are middle names following) Franklin Lars Timothy Angus Pict Eric Florencio Brude James Tiberius (and extended last names from his parents lineage in the right order) Anderson Cruzata Jaspersen Alonso Zaar Marrero Karling Comba Noren Dalke Hartsell y Lennox.

Wanna go to an opening at UM?

From Wednesday, September 2 through Wednesday, October 3, Profess: Department of Art Faculty Exhibition provides a glimpse into the creative research and professional activities of the University of Maryland’s Department of Art faculty.

The seventeen full-time faculty members included in the exhibition are: Audra Buck-Coleman, Patrick Craig, Dawn Gavin, Margo Humphrey, Wendy Jacobs, Patrice Kehoe, Richard Klank, Tadeusz Lapinski, Ruth Lozner, John McCarty, Brandon Morse, Jefferson Pinder, W.C. Richardson, John Ruppert, Foon Sham, Justin Strom, and James Thorpe.

The exhibition takes place in The Art Gallery located on the 2nd floor atrium of the Art-Sociology Building at the University of Maryland, College Park campus. A reception takes place Wednesday, September 2, from 5:00 to 7:00 pm.

Mack, The Knife

I've always liked this song and always wondered what the hell it is about...

Oh, the shark, babe, has such teeth, dear

And it shows them pearly white

Just a jackknife has old MacHeath, babe

And he keeps it … ah … out of sight.



Ya know when that shark bites, with his teeth, babe

Scarlet billows start to spread

Fancy gloves, though, wears old MacHeath, babe

So there’s nevah, nevah a trace of red.



Now on the sidewalk … uuh, huh … whoo … sunny mornin’ … uuh, huh

Lies a body just oozin' life … eeek!

And someone’s sneakin' ‘round the corner

Could that someone be Mack the Knife?



A-there's a tugboat … huh, huh, huh … down by the river don’tcha know

Where a cement bag’s just a'droopin' on down

Oh, that cement is just, it's there for the weight, dear

Five'll get ya ten old Macky’s back in town.



Now, d'ja hear ‘bout Louie Miller? He disappeared, babe

After drawin' out all his hard-earned cash

And now MacHeath spends just like a sailor

Could it be our boy's done somethin' rash?



Now … Jenny Diver … ho, ho … yeah … Sukey Tawdry

Ooh … Miss Lotte Lenya and old Lucy Brown

Oh, the line forms on the right, babe

Now that Macky’s back in town.



Aah … I said Jenny Diver … whoa … Sukey Tawdry

Look out to Miss Lotte Lenya and old Lucy Brown

Yes, that line forms on the right, babe

Now that Macky’s back in town …


Look out … old Macky is back!!

Cuban art is caliente!

Because I am an art dealer, and because I have several art collectors that retain me as an advisor, I try to figure out the art scene from a commodity perspective as well as an artistic one; a key marriage often eschewed by most art critics because of their natural antipathy at admitting their symbiotic relationship with every facet of the art world, including the fact that art is everything, including a commodity.

How long have I been shouting "buy Cuban art!"? A long time... and not just because I may be a prognosticating commercial art genius, but because of the two great recent examples in the worldwide industry of making a piece of art climb in price: Russia and China.

Not just me, by the way, but also the Wall Street Journal, which looks at all things from a money perspective.

And of course, being self-serving because I'd rather people buy the artwork produced by the artists that I represent, I am always glad when they continue to do well, as they are "discovered" by the greater American art public in these three forthcoming exhibitions, all featuring the work of Sandra Ramos, whose amazing work I've pushing for years now and whose American solo gallery debut took place at my former gallery several years ago!

Sandra Ramos, "Alumbramiento (Enlightment)" - Mixed Media Etching. 22 in. x 30 in. (56 cm x 76 cm). 2005.
The Lyman Allyn Art Museum in New London, Connecticut has just announced a new exhibition, Ajiaco: Stirrings of the Cuban Soul, opening September 12, 2009 and on view through February 21, 2010.

Lyman Allyn Art Museum’s partner, the Hispanic Alliance of New London, has provided support for this exhibition with its coordinating programs and events. Cuban culture has been characterized as an ajiaco or a rich stew consisting of a vast array of ingredients. It is this synthesis that is the essence of Cuban art and the subject of Ajiaco: Stirrings of the Cuban Soul. The exhibition seeks to interpret the diverse social dimensions of Cuban art in a global context through the exploration of its relationship with African, Asian, European, and indigenous influences and belief systems.

This art incorporates the tales of the Orisha of Africa, the calligraphy of Chinese Tao Te Ching, and the rituals of indigenous peoples. The formats change, the materials vary, but the mix remains constant in both Cuban and Cuban American art. Ajiaco: Stirrings of the Cuban Soul is not only about Cuban art; it explores diaspora. In broader terms, this project addresses both the immigrant experience and the expression of cultural identity in a new place.

The curator, Dr. Gail Gelburd, a professor of art history at Eastern Connecticut State University in Willimantic, Connecticut, writes,

“Isolated and yet educated, restricted and yet heralded, the Cuban artist embodies the angst of their situation and yet embraces the loftiest of goals. Their syncretist tradition and heritage allows them to go beyond the monotheistic traditions in order to find the origins of their soul, the geist or inner spirit of their art.”

Gelburd has been conducting research on Cuban art and artists for over fifteen years. She travels to Cuba regularly and has lectured there for the Havana Biennale, Havana University, and Casa Africa. Gelburd has received numerous grants and awards, including a Rockefeller Foundation grant to conduct research on Cuban art and she is publishing a book on Contemporary Cuban art. Her article “Cuba: The Art of Trading with the Enemy" was published in Art Journal in Spring 2009.

This exhibition consists of more than fifty objects, including paintings, works on paper, photographs, sculpture, installations, and audio works by twenty-two artists. Ajiaco: Stirrings of the Cuban Soul will feature such major figures in Cuban art as Wifredo Lam, Manuel Mendive, Jose Bedia and Sandra Ramos, among others.

Following its time on view in New London, Ajiaco: Stirrings of the Cuban Soul will travel to the Chelsea Art Museum in New York City and then on to the Hilliard Museum at the University of Louisiana in Lafayette, Louisiana.

And another one:

The Center for Contemporary Printmaking (CCP) in
Norwalk, CT heralds in the fall with an exhibition of Latin American prints, September 24, 2009 through November 07, 2009. The exhibition opens with a gallery reception on Thursday, September 24, 2009, 4 – PM, and is free to the public. Entitled “Creative Dialogues: Latin American Prints & Printmakers”, the exhibition focuses on the human figure and the interaction of different Latin American cultures to their environment and living conditions. Approximately 50 works of art are in the exhibition. Gallery talks and a workshop exploring contemporary Caribbean and Latin American prints and printmakers are planned to coincide with Hispanic Month, which takes place in October 2009.

Artists participating in the exhibition hale from many countries, and underscore the diversity of imagery presented at the exhibition. Gallery visitors will have the opportunity to review the work of two artists who create their images at a printmaking atelier in Cuba, images that are rarely exhibited in the United States; to review the work of Antonio Frasconi, an international artist who resides in Norwalk; or take in a lecture by Sandra Ramos, an internationally known installation artist, and Alicia Candiani, workshop owner and artist whose imagery emphasizes women and women’s issues. Sandra Ramos and Alicia Candiani are traveling stateside to create new prints at the CCP Helen Frankenthaler Printmaking Cottage and participate in the Artist-In-Residence program for several weeks during the “Creative Dialogues” exhibition.

On Friday, October 2, CCP is hosting a special gallery event, open to the public. Join guest Curator Ben Ortiz for a walk and talk of the “Creative Dialogues” exhibition at 6 PM, and listen to Sandra Ramos and Alicia Candiani talk about their images in the exhibition at 7 PM. Following the gallery talks, attendees will have the opportunity to view new works by Sandra Ramos and Alicia Candiani at the Helen Frankenthaler Printmaking Cottage.

And lastly, Wake Forest University is presenting "Cuban Artists, Books and Prints, 1985-2008." The exhibition gathers over 120 books, maquettes for unpublished projects, related prints, and printed objects. The books were designed for Ediciones Vigía, a collaborative artists’ press founded in 1985 in Matanzas. The only press of its kind in Cuba or perhaps anywhere, it began with a mimeograph machine and a borrowed typewriter. The show includes 120 works (handmade books, prints, sculptures, film about artists, digital frames, and mixed media) and it is curated by Linda S. Howe, curator and Professor at Wake Forest University, in conjunction with Paul Bright, Assistant Director of WFU Fine Arts Gallery.

Prints by Ibrahim Miranda and Sandra Ramos offer romantic, nostalgic views of the island or ironic interpretations of patriotism. Miranda superimposes fantastic beasts on old maps of Cuba. For her book Jabberwocky, Ramos mixes excerpts from Lewis Carroll’s text and John Tenniel’s images for Through the Looking Glass with her own on pages facing foldout mirrors (where they must be read). Other prints combine photographs of herself as a child with her illustrations of contemporary Cuban life, suggesting its fairytale quality, sardonically sketching the quotidian, and voicing her sense of loss.

The exhibition goes from August 26 - October 6.

And, remind me later to blog my mother's most excellent Ajiaco recipe!

Worst Nobel Peace Prizes ever

It has nothing to do with art, but this article is pretty good and cements something that I really believe: sometimes the prize just goes to the wrong bloke. Read the David Rothkopf article here.

My vote for the worst Peace Prize ever? Yasser Arafat.

Gopnik on Sanborn

"Terrestrial Physics," as the new installation is called, is possibly the most substantial work of art to come out of Washington since the 1950s, when Morris Louis stained his first canvases. Except Louis's fans had seen big, colorful abstractions before. No one has come across a thing quite like the new art Sanborn has made, working almost alone in his studio over the past three years.

Read Blake Gopnik's excellent profile on Washington area artist Jim Sanborn here; there's an interesting lesson for all artists in the last 6-7 paragraphs of the story.

And by the way, I was very glad to see Gopnik do something rare last Saturday: cover a couple of local DC galleries. Read that here. Gopnikism of that article: "Though boyish, the piece also is sober and adult."

Opportunity for Artists

Deadline: Postmarked by Sept. 18, 2009

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.

Wanna go to an art party on Thursday?



At the last Pink Line project (the Define Live-Work contest) you drank beer, hung out with a drag queen, and listened to opera. You ate sno-cones and played carnival games. You submitted really creative live-work ideas.

You voted.

And the winner of the Define Live-Work contest? Metasebia Yoseph. Congratulations!

Now come back and see the Solea space, which will be transformed by designers Fabian Bernal and Sarah Aburdene, who have been inspired by the winning idea.

*Thursday, August 27*
6 to 8 PM
@ Solea Condo Live-Work Space
1405 Florida Avenue, NW

But wait! There's more!

Soundscapes by DJ Gold and Riddle.
Art exhibit by Albus Cavus.
A raffle for art provided by Albus Cavus.

Plus!
"Art Salon" brought to you by the DC Commission on the Arts & Humanities
Featuring: DJ Iwah and Christylez Bacon

The ZIP Code show

The past, the present, entrapment, enthrallment, nomadism, nowhere and everywhere, drinking beer, making out, secret rooms, contentment, living hell, paint cans, and of course numbers all factor into The ZIP Code Show , happening August 29 - September 5, 2009.

The show, an artdc.org and Art Outlet collaborative event, is being held in partnership with Halstead Arlington and the Columbia Pike Revitalization Organization . It will take place at the Halstead Arlington, a new luxury apartment building at 1028 South Walter Reed Drive in Arlington, VA.

The ZIP Code Show will open and close with Saturday night receptions that will include art, artists, performers (see below), a cash bar, and hors d' oeuvres courtesy of Rincome Thai Cuisine . The work will be on display during the receptions and Tuesday, September 1 through Friday, September 4.

Artists:
Erin Antognoli, Michael Auger, Jennifer Beinhacker, Stephen Dobbin, Cheryl Denise Edwards, Laura Elkins, Rita Elsner, Deirdre Forgione, Vickie Fruehauf, H.A. Gallucio, Ric Garcia, Eve Hennessa, Kevin Irvin, Mishka Jaeger, Jessica Jastrzebski, Angela Kleis, Tara Kocourek, Carrie Marie Lipscomb, Matthew Michael Malone, Stephen Mead, Bono Mitchell, Claudia & Sergio Olivos, Kelly Perl, Linda Plaisted, Caren Quinn, Tariq Rafiq, Jeremy Arn Ramirez, Rhett Rebold, Stephanie Elaine Robbins, Johanna Rodriguez, Lisa K. Rosenstein, Roy Utley, Jessica Van Brackle, Emily Voigtland, Alexandra Zealand

Show dates and times:
Opening Reception: August 29 from 5:30 pm - 12 am
Closing Reception: September 5 from 5 - 10 pm
Gallery Hours: September 1 - 4 from 5 - 7:30 pm

Performances by: Rhythm Worker’s Union (Djembe drumming), Parliament Hill (American folk), KUKU (Nigerian singer/songwriter), Saffron Dance (Belly Dancing), Margot MacDonald (American blues/rock), Wes Tucker (American folk/blues), DC Shorts (film)

When Artists Rip Off Other Artists


From Books By Its Cover

I wanted to take a break today from usual book posting to share something that happened to my friend, artist Lauren Nassef (the first artist I will be publishing as part of the BBIC press series). Yesterday she was alerted by someone who follows her blog that a graduate student from Falmouth University in the UK named Samantha Beeston had stolen her drawings and used them in her own work.

Once we starting doing more research, we found out Samantha won a huge award from Texprint for pattern designs filled with Lauren’s drawings which she claimed as her own. Even her website (which she has taken down since Lauren contacted her) had Lauren’s drawings on the home page and integrated thoughout her portfolio. She was even selling prints of one of Lauren’s drawings she had traced.

With the award she won from Texprint (sponsored by Pantone Europe), she received prize money and a chance to exhibit at two trade shows in Hong Kong and Paris where she can take orders for the (stolen) designs.

She even made a fake sketchbook with many of Lauren’s drawings traced or pasted in.

... Yesterday Lauren alerted everyone involved about what is going on, and since then most of the blogs have taken down or corrected their posts about Samantha’s work. The award and school have been notified so hopefully they’ll take the necessary actions soon enough.

I wanted to write about this today because I am completely shocked and disturbed. I wanted to spread the word, to help Lauren be rightfully credited for her designs. I’m not sure what the lesson here is. Should we be more careful about putting our work online? How can we protect ourselves from incidences like this? I’ve heard horror stories of artists getting ripped off by huge corporations stealing their work. And I’ve seen artists “be inspired” by other artists in manner that is borderline plagiarism. In my opinion all you can do is treat the minor cases as flattery, sue when appropriate, and keep making original work! I hope this whole mess will just draw more positive attention to Lauren’s work, which I think is brilliant and beautiful.

Read the whole post and see more images here and check out Lauren's great drawings here.

By the way, her big Texprint art prize award has been taken back... see that here.

The Six Most Common Mistakes Artists Make When Approaching Galleries

J. Jason Horejs, owner of Scottdale's Xanadu Gallery has published a book titled "Starving" to Successful | The Artist's Guide to Getting into Galleries and Selling More Art.

This book was written "to help you approach galleries in an organized, systematic and professional way." The book will also help artists avoid the six mistakes listed below.

I'll try to get a copy of this book and review it here, but meanwhile you can order the book here and below are the six most common mistakes according to Jason:

This book springs from my experiences with artists. Several years ago, I began to wonder why artists were inept talking to galleries. I quickly realized most were unsuccessful because there is very little information explaining the best strategies.

That lack of information leads to these blunders:

Mistake #1: Presenting an inconsistent body of work.

Artists generally love their freedom. They want to experiment. They love a challenge. They crave variety. All good things, except when you are presenting your work to a gallery.

The work you present to a gallery needs to be unified. It doesn't need to be repetitive or formulaic, but it must present you as a consistent artist with a clear vision.

Often I feel I am looking at the work of multiple artists as I review a single portfolio. To avoid this problem you need to find focus in your work.
If you work in several media and a variety of styles, focus on just one for the next 6-12 months. Create a body of work that feels like a "series". Once you have 20-25 gallery-ready pieces in this series, you will be ready to approach a gallery.

You can further create consistency by presenting the work in a consistent way. Use similar frames for paintings and photographs, similar bases for sculpture, similar settings for artistic jewelry. Make it very clear all of the work is by the same artist.

If you simply can't rein your style in, consider creating multiple portfolios, one for each style.

Don't confuse the galleries you approach with multiple styles in your portfolio.

Mistake #2: Producing insufficient work to sustain gallery sales.

Many artists create marketable work, but in quantities too low to make a gallery relationship viable. Successful artists are consistently in the studio creating artwork. You may be surprised to learn the results of a recent survey I conducted.

I asked artists how many new works they created in the last twelve months. Painters responded that on average they were creating 53 pieces every twelve months. Sculptors 31. Glass artists 500!

A gallery owner needs to feel confident you will replace sold art quickly and maintain high quality. They want to know if you are successful the can replenish their inventory.

Don't despair if you are far from reaching this goal. Rather, look at your creative production for the last year and set a goal to increase the production by 25% in the next 12 months.

Several suggestions to increase your productivity:

1. Dedicate time daily to your art. Maybe your schedule will only allow for two hours daily, but you will produce more by working for those two hours every day than you will by waiting for big blocks of time.

Treat your studio time as sacred. Train your family and friends to respect that time. You don't interrupt them when they are at work; ask them the same courtesy when you are in the studio.

2. Set a production goal. If I could tell you the secret to producing 50, or 100 pieces per year, would you listen? Here it is: create 1 or 2 pieces per week.

I know it seems overly simple, yet few artists work in a concerted disciplined way to achieve this goal.

(A common objection I hear to this suggestion is that quality will suffer if an artist works this quickly. In my experience, the opposite is true. A certain level of quality may only be obtained by putting miles on the paintbrush, spending hours in the darkroom, moving tons of clay or stone.)

3. Remove distractions from the studio. Move your computer to another room. Unplug the telephone. Nothing kills an artist's focus faster than the constant interruption of technology. Your inbox and voicemail will keep your messages safe while you work.

Mistake #3: Delivering a portfolio in a format inconvenient for gallery review.

Often your portfolio is your only chance to show your work to a gallery owner. Poorly formatted portfolios are rarely viewed. Your portfolio should be concise, simple, informative and accessible.

25 years ago, formatting a portfolio was simple. A portfolio was either a literal portfolio with sheet protectors and photos, or a slide sheet.

The choices have since multiplied. CD? Digital hardbound photo-book? Pdf file? Email? Which format is the most effective? None of these, actually. Each has drawbacks limiting effectiveness. They are either too much work for the gallery owner to access, too easy to delete, or too hard for you to maintain.

In my book I will show an example of a perfect portfolio. Easy to maintain, easy to share. Successful.

A couple of things to keep in mind with your portfolio:

1. Your portfolio should contain no more than 20-25 of your most recent works. You should not create an all-inclusive portfolio. A gallery owner does not want to see your life's work. They want to see your best, most current, most relevant work.

2. On each page you should include pertinent, relevant information about the art. Include the title, the medium, the size, and the price. Don't include the date of artwork creation.

3. Place your bio, artist's statement, and resume at the back of the portfolio, not the beginning. Your artwork is the most important feature of the portfolio, don't bury it behind your info. Limit press clippings, and magazine articles to 2-3 pages.

4. Include 2-3 images of sold artwork. You should try to include at least one photo of your artwork installed. These images will establish your credibility more rapidly than any resume ever could.

In "Starving" to Successful I will teach you how to create a powerful portfolio. Your new portfolio will end up in gallery owner's hands, rather than in the garbage can.

Mistake #4: Lacking confidence and consistency in pricing.

One of the greatest challenges facing you as an artist is knowing how to correctly value your work. Many artists price their work emotionally, and inconsistently. Galleries can't sell wrongly priced art.

Worse, nothing will betray an unprepared artist like not knowing how to price his/her work.

Many artists mistakenly under-price their work. They do this because they feel they are not established. They do it because their local art market won't sustain higher prices. They do it because they lack confidence in their work.

In the book I will help you come up with a consistent, systematic formula for pricing your art.

Is your work priced correctly?

Mistake #5: Approaching the wrong galleries.

My gallery is located in an art market dominated by Southwest and Western subject matter. My gallery stands apart from most of the galleries in Arizona because I have chosen art outside the norms. Yet I am constantly contacted by Western and Southwestern artists. They seem surprised and hurt when I turn them away. They could have saved us both some discomfort by researching my gallery before approaching.

Which markets should you approach first? How should you research the galleries? Is it safe to work with galleries in out-of-state markets?

"Starving" to Successful will teach you how to create a list of qualified, appropriate galleries to contact (I will also teach you how to approach them).

Mistake #6: Submitting art through the wrong channels.

Conventional wisdom, and even some highly respected art marketing books will advise you to send your portfolio with a cover letter to the gallery. You may also hear it's best to call a gallery and try to make an appointment to meet the owner. You might visit a gallery's website to learn of their submission guidelines.

In my experience, these methods all guarantee failure. I will share with you a more direct, simpler approach; this approach will tremendously improve your chances of success. The approach is no secret, and yet most artists don't employ it.

Find the solutions to avoiding all these mistakes in the pages of "Starving" to Successful.

In addition to learning how to avoid the mistakes listed above,"Starving" Artist to Successful Artist you will also see clearly how to effectively organize your work, build your brand as an artist, communicate effectively with your galleries, and much more.

I will give you concrete steps you can take to systematically prepare for gallery relationships.

Jason tells me that you may order the book at the pre-publication price of $19.50 (Plus s+h) through 8/25. The first printing is already 3/4 sold out. Learn more about the book and order your copy today at www.xanadugallery.com/book

Please email Jason directly, jason@xanadugallery.com, or call him toll-free at the gallery at 866.483.1306 if you have any questions about the book.

I am interested in your thoughts about these six mistakes, which I think are dead on target. As a gallerist I have encountered (and continue to see) all of them. I'm going to think about six separate mistakes of my own experience as a gallerist and art dealer in dealing with artists and post these here soon. Meanwhile, post your thoughts or experiences in the comments section or email them to me.