Opportunity for Artists

Deadline: March 5, 2010.

The Visual Arts Committee of the University of Minnesota organizes nine solo, group, or theme-based exhibitions per year at the St. Paul Student Center's 520 sq. foot Larson Art Gallery. It also organizes four solo exhibitions at Coffman Memorial Union's Coffman Art Gallery.

To apply, please make sure to include all of the following:
- Note which Gallery you are applying for (Coffman or Larson).
- 3-5 slides of your artwork or digital images in jpeg format.
- Artists' statement and contact information.
- Self-addressed stamped envelope for return of images.

Send proposals to:
Visual Arts Committee
University of Minnesota
Coffman Memorial Union RM 126
300 Washington Ave SE
Minneapolis, MN 55455

38 Ways to Improve your Art Sales

From Art Marketing 101:

• Set aside a specific day and time each week for marketing.

• Create a quiet office space for your business.

• Start collecting names for your mailing list.

• Call five to 10 art world professionals each week.

• Spend one day visiting local galleries.

• Subscribe to an art publication for one year and read it.

• Enter a competition.

• Sponsor a community event.

• Host a studio party.

• Donate time to some charity. Let people know you are an artist.

• Barter your art for services.

• Support your statewide arts organization by buying an art license plate with your art-business name on it.

• Try to get an interview on your local radio station.

• What interior designer could you take to lunch?

• To what local business could you lease your artwork?

• In what cafe could you hang your paintings?

• Give out coupons with a Valentine’s Day e-mail blast.

• What special offer could you make on a postcard to your clients?

• What storyline can you create for the local art writer?

• What previous client would be able to give you a useful referral?

• What sign could you put on your car to advertise your work?

• What bumper sticker could you create to give to your clients?

• Create an e-mail newsletter to send to clients.

• How much would it cost to put up a billboard at the entrance to town?

• Create an unusual, catchy name for your new group of paintings.

• Apply to the next local art fair.

• Start saying, “I am an artist.”

• Provide a specialized service that no other artist provides.

• Get a phone number that spells out something (or figure out what your current one spells).
.
• Be friendly with a competitor.

• Place your artwork in model home displays.

• Work with a local chapter of American Society of Interior Designers—give a talk at one of their meetings.

• Contact your local International Furnishings and Design Association chapter affiliation.

• Place a display of your work at the local library, associated with a talk you will give.

• Find a Realtor’s office that will let you exhibit. Offer agents a commission on sales.

• Create a gift certificate form.

• Check out your local doctor, veterinarian, optometrist, emergency room, hospital, medical facilities office. These venues often do have a budget for “decoration.” If they are not in the position to buy, offer a lease option.

• Smile at everyone today.

Torpedo Factory Art Center Visiting Artist Program

Deadline: February 28, 2010.

The Torpedo Factory Art Center invites emerging and experienced artists to apply for one, two, or three residencies between June 1 and August 31, 2010.

The Torpedo Factory Art Center in Alexandria Virginia is home to more than 140 visual artists working in 82 studios. Artists create in a wide variety of media including painting, fiber, jewelry, ceramics, printmaking, cast and stained glass, and sculpture. The Torpedo Factory is open to the public every day; visitors are invited and welcomed into studios to watch artists at work, ask questions, and purchase original art – allowing the public an opportunity to share in the excitement and fascination of the creative process. The projects undertaken by Visiting Artists for this self-directed, creative residency must be compatible with available working studio spaces and facilities. Visiting Artists will be provided with studio space and will be able to display and sell original work.

Finalists will be selected by juror Jack Rasmussen, Director and Curator of the American University Museum. There is no application fee. Download the Prospectus and Application Form from www.torpedofactory.org/vap. Send questions to: vap@torpedofactory.org. No telephone calls please.

Airborne

I'm flying back home early tonite and they're expecting another major snow storm in the Mid Atlantic, so I hope that we can land - otherwise I may be stuck somewhere between Detroit and DC.

Opportunity for Artists

Deadline: March 1, 2010.

Hood College is seeking applications for solo/two-person/group exhibitions during the 2011-2012 seasons. It is preferred that the artist(s) be present at the gallery for installation/de-installation, and required for the reception. At this time, the gallery is not equipped for new media/technology/performance based work. Most other media welcome. Hood College will accept proposals for exhibitions from curators. Please provide images with a detailed proposal, as well as a bio/resume from the curator(s) and each of the artists. Please send bio, resume, 20 images of recent work on CD (jpg, 300dpi, 6x9inches) and image list to:

Milana Braslavsky
Gallery Director
Hood College: Tatem Arts Center
401 Rosemont Avenue
Frederick, MD 21701.

No entry fee. Please send a SASE for return of materials (optional). Please send any questions to braslavsky@hood.edu.

Fairouz Cafe And Gallery

Today I had lunch at one of the best Mediterranean/Greek/Middle Eastern restaurants that I can recall - ever.

I'm talking about Fairouz Cafe And Gallery in San Diego (Gallery because the owner is quite an accomplished artist - Ibrahim Al Nashashibi - and loads of his work decorates the restaurant).

The lunch buffet was amazing! It has both a vegan side and also a "regular" fare of Middle Eastern/Mediterranean delicacies - but many of them (I talked to the owner) come from Nashashibi's mother's recipes - which have been in the family for centuries.

And I mean centuries - for example Nashashibi was born in a house on Jerusalem's Via Dolorosa which the Nashashibi family has owned for centuries!

"You must try the Lemon and Chicken soup!" he begged me as I was about to leave. "It has been voted San Diego's best soup for the last two years in a row!" he told me.

I tried it and it was delicious. As was the saffron chicken, which also tasted as it had been infused with lemon. The combo of saffron and lemon was a fantasy to the taste buds.

Even simple dishes, like the garlic cabbage were amazing.

And all of that and much, much more in a buffet for $8.99 - simply a spectacular deal for the money for home cooked food from the east part of the Med.

Fairouz Cafe And Gallery
3166 Midway Drive #102
San Diego, California 92110
Phone: 619.225.030

WGS Studio Coordinator Position Open

The Washington Glass School has an immediate opening for a Studio Coordinator in its Mt. Rainier location. Founded 8 years ago, this is one of the busiest studios on the East coast. They are not only an educational venue, but they are also the home of many successful independent artists. The School also works with large scale public art projects.

The successful candidate will have many of the following traits:

~ Extremely organized and punctual
~ Ability to move from one project to the next very quickly
~ Be a self starter and able to work independently
~ Skills in sculpting clay would be helpful…..as well as skills in computer work, administrative paperwork, warm glass, shipping and delivery
~ Comfortable with people and able to possible teach classes

Duties will include:

~ Daily studio clean-ups
~ Working with plaster, lost wax, warm glass
~ Installing sculptural work
~ Assisting or taking over some classes.
~ 100 things that might come up….and do. This can be hard, dirty work

What they offer:

~ To learn numerous methods of relating to glass and sculpture (all classes are free to you)
~ Free studio space to work on your warm glass
~ $10 an hour to start
~ The ability to see how a very successful sculpture studio operates.
~ Many gallery and show opportunities.
~ The ability to become part of a much larger community
~ Mentoring for your career as an artist

This is a great opportunity for someone who would like to further their sculpture or glass career, and to join one of the most successful teams in the region. Please email Tim Tate at TimTateGlass@aol.com.

Washington Glass School
3700 Otis St.
Mt. Rainier, Md. 20712
202-744-8222
WashGlass.com

Tape Sculptures

There's a contest going on to see who can create the best sculptures in Scotch Tape's first annual tape sculpture contest.

Current entries can be viewed, and voted, online here.

Persons interested in submitting their sculptures can still do so through the end of this month. A press release with details - and instructional
videos for how to make tape art - is online here.

Winners will be selected among the finalists by (who else but) DC-based tape sculptor Mark Jenkins.

Airborne


Heading to the Left Coast for some unexpected last minute lecturin' - more when I get there.

Temp Gallery?

I hear that an interested party is looking for a short term lease to occupy the empty space where the Numark Gallery used to be on E Street. That gorgeous space has remained empty since Cheryl Numark closed a few years ago.

Gallery moves

Washington Printmakers will move to their new home at Pyramid Atlantic Art Center tomorrow. Their inaugural opening reception for their 25th Anniversary Reunion Show will be Friday, February 5, 5:30-8:00 pm.

25 years in gallery years is like 100 in any other business. One of the reasons that some of our oldest galleries in the DMV are collectives is because all the artist members share the load of the costs of running the space, which allows it to survive rocky austere times such as we are experiencing now.

And WP is by far the best DMV area gallery in its specialty of printmaking.

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 printmaker, 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 printmaker faster than hearing a reproduction called a print. Want to see some good prints? Visit Washington Printmakers and Pyramid Atlantic often.

Cultural Capital

If you are a fan of live performances, arts events and cultural programs, then you should know about CultureCapital.com, The Cultural Alliance of Greater Washington's Arts & Cultural Events Resource Site.

CultureCapital.com, includes over 300 participant arts and cultural organizations in DC, MD and VA (complete list here) and is easily searchable by date, category, keyword and region.

Use the advanced search on the upper left to customize your search by date range, subcategory and keywords and be sure to click on the map to search the area you prefer. On the right side of the site you will see a link to TICKETPLACE, where you can find half-price tickets online, in advance which they will hold for you at will call for shows at various arts and cultural events at The Kennedy Center and many other great venues!

Also on the site, you will find a place to sign up to for the new weekly email, CultureCapital Insider, which highlights special events, openings and closings, one night only and free events for that week.

CultureCapital.com is a great online guide that can help you to explore the creative side of this city and the entire DC region by providing a one-stop-shop that helps you to discover all of the wonderful arts and cultural events happening in the area.

A Sculpture that sells itself

(Via artdc.org) Check this out - almost too brilliant to believe.

Opportunity for Artists

Deadline: Feb 28, 2010

The M-NCPPC space in the Gateway Arts Center is actively seeking both exhibition proposals for the 2010-11 season, as well as craft artists interested in showing & selling work at the center.

Craft proposals are being reviewed immediately and on an ongoing basis.

The next deadline for exhibition proposals is Feb 28, 2010.

The Gateway Arts Center (formerly called the Brentwood Art Center) will celebrate it’s grand opening on March 19, 2010. The center, located at a gorgeous space at 3901 Rhode Island Ave. in Brentwood, is dedicated to presenting and promoting the visual arts.

It is home to a dozen artists’ studios (Studio rents are starting at $13 s/f, plus utilities. For more information or to make an appointment to see the studios call John Paradiso at 301-864-3860 ext.3.), a gallery operated by the Gateway CDC, and the Prince George’s African American Museum & Cultural Center and certainly the heart of a new area home to many artists studios and several emerging art galleries.

The Maryland-National Capital Park & Planning Commission occupies approximately 1/4 of the building, featuring a gallery, a contemporary craft store, and an arts class/meeting room. It is a place for people of all ages to meet, engage and learn about art, purchase one of a kind craft objects, and explore new talents.

Proposals/applications should include:

* A résumé or CV
* Appropriate digital documentation with a list of images that includes titles, media, size, and dates.
* Exhibition proposals should include and artist/curator’s statement.

Send to:

Attn: Gateway Arts Center
Arts & Cultural Heritage Division, M-NCPPC
7833 Walker Dr. Suite 430
Greenbelt, MD 20770

If you have any questions, would like additional information or a full prospectus, please contact:

Phil Davis, phil.davis@pgparks.com

tel. 301-277-2863; tty. 301-446-6802; fax. 301-277-2865

S word

"One to two inches of snow." Riiiiiiiight...

Sixth Annual Bethesda Painting Awards

Deadline: Friday, February 26, 2010

The Bethesda Arts & Entertainment District is currently accepting applications for the sixth annual Bethesda Painting Awards, a juried competition honoring four selected painters with $14,000 in prize monies. Deadline for slide submission is Friday, February 26, 2010. Up to eight finalists will be invited to display their work from June 1 – 26, 2010 in downtown Bethesda at the Fraser Gallery.

The competition will be juried by Dr. Carolyn Carr, Deputy Director and Chief Curator of the National Portrait Gallery, Smithsonian Institution in Washington, D.C.; Mark Karnes, drawing and painting teacher at Maryland Institute College of Art and Erling Sjovold, painting professor at the University of Richmond.

The first place winner will be awarded $10,000; second place will be honored with $2,000 and third place will be awarded $1,000. A “young” artist whose birth date is after February 26, 1980 may also be awarded $1,000.

Artists must be 18 years of age or older and residents of Maryland, Virginia or Washington, D.C. All original 2-D painting including oil, acrylic, watercolor, gouache, encaustic and mixed media will be accepted. The maximum dimension should not exceed 60 inches in width or 84 inches in height. No reproductions. Artwork must have been completed within the last two years and must be available for the duration of the exhibition. Digital entries on CD will be accepted.

Each artist must submit five slides, application and a non-refundable entry fee of $25.

Applications are available online at www.bethesda.org or please call 301/215-6660. You may also send a self-addressed stamped envelope to the Bethesda Painting Awards, c/o Bethesda Arts & Entertainment District 7700 Old Georgetown Road, Bethesda, MD 20814.

For this evening...

Make sure that you come by the Washington Project for the Arts (WPA)'s opening of its newest exhibition, Cream, January 30 - March 6, 2010, at the American University Museum at the Katzen Arts Center.

This annual exhibition features works by more than 110 local and national artists selected by an esteemed group of eight top curators including scholars, museum directors, practitioners and collectors. All works are on view until the WPA Annual Art Auction Gala, which will take place March 6, 2010, during which the exhibited works are available to the highest bidders.

An opening reception will be held tonight, Saturday, January 30, 2010 from 6-9pm, along with a talk by the curators on Thursday, February 25, 2010, 6:30-9:30pm, both at the Katzen Arts Center, 4400 Massachusetts Ave. NW, WDC.

The 29th iteration of this exhibition highlights some of the region's most talented artists, presenting a broad range of media and styles of both new and emerging artists as well as more established career artists. As an annual WPA presentation, the auction exhibition has gained new stature and recognition, evolving from a brief 'showing' of artists' works as a preview for the WPA's auction event, to one of the most prestigious and recognizable art showcases of its kind, with a high caliber of notable curators selecting the works. Cream is a notable survey of contemporary art in the region and beyond, with selected works representing the cream of the crop and the talent of the artists included that rose above thousands of others viewed during the curatorial process.

"We are tremendously pleased with the participating curators and their art selections - the work is fresh and exciting, and there are artists with long-standing ties to WPA as well as new names that the curators are introducing to the public," said Lisa Gold, WPA's Executive Director. "It was particularly rewarding to have a window into the curatorial process this year," she added, referring to 36 Studios- Part I, a 36-hour tour with collector Mera Rubell, during which she visited with 36 artists to inform her exhibition artwork selections.

Curator View and Presentation of Alice Denney Award
Thursday, February 25, 2010, 6:30-9pm

Curator and former WPA Executive Director Jock Reynolds will present the Alice Denney Award for Support of Contemporary Art to James F. Fitzpatrick, followed by a slide show and short talk by Cream curators about their exhibition selections and a preview of the exhibition.

Admission to the exhibition and curator talk is free and open to the public. Seating for the curator talk is limited; attendees are encouraged to RSVP by February 19 to info@wpadc.org.

Cream exhibition curators and their selected artists include:

KEN ASHTON, Visual Artist and Museum Technician for Works on Paper, Corcoran Gallery of Art, Washington, DC

Margaret Adams, Chan Chao, Natalie W. Cheung, Billy Colbert, Frank Hallam Day, Matthew Girard, Avi Gupta, James Huckenpahler, Michael Dax Iacovone, Hatnim Lee, Marissa Long, Kate MacDonnell, Beatrice Valdes Paz, Ding Ren, E. Brady Robinson

KRISTEN HILEMAN, Curator of Contemporary Art, The Baltimore Museum of Art, Baltimore, MD

Ken Ashton, Clarke Bedford, iona brown, Renee Butler, David Carlson, Zoë Charlton, Mary Coble, Jennifer Dorsey, Susan Eder & Craig Dennis, Bernhard Hildebrandt, Ryan Hill, Brece Honeycutt, Dean Kessmann, Cara Ober, Erik Sandberg, Joe White

CAROL K. HUH, Assistant Curator of Contemporary Asian Art, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC

Jon Bobby Benjamin, Howard Carr, Neil Greentree, Max Hirshfeld, Tim Hyde, Franz Jantzen, Courtney Jordan, Martin J. Kotler, Jeffrey Smith, Stanley Staniski, Oliver Vernon

JOANNA MARSH, The James Dicke Curator of Contemporary Art, Smithsonian American Art Museum, Washington, DC

Mark Dion, Michelle Elzay, Kota Ezawa, Devon Johnson, Mark Newport, James Prosek, Jean Shin, Joseph Smolinski, Alison Elizabeth Taylor, René Treviño

JOCK REYNOLDS, The Henry J. Heinz II Director and Visual Artist, Yale University Art Gallery, New Haven, CT

William Christenberry, Tom Green, Jacob Kainen, Betsy Packard, Lisa Scheer, Jeff Spaulding, Alan Stone, William Willis, Yuriko Yamaguchi

CHARLES RITCHIE, Visual Artist and Associate Curator of Modern Prints and Drawings, National Gallery of Art

Jay Bolotin, Astrid Bowlby, Georgia Deal, Douglas Florian, Cassandra Kabler, Mark E. Karnes, Karey Ellen Kessler, Sangram Majumdar, Rob Matthews, Beverly Ress, James Stroud, Lynn Sures, Bill Thompson, Alice Whealin, John Wilson, Janine Wong

MERA RUBELL, Co-founder, Rubell Family Collection, Miami, FL

m. gert barkovic, Holly Bass, Judy Byron, F. Lennox Campello, Rafael Cañizares-Yunez, Adam de Boer, Mary Early, Victoria F. Gaitán, Carol Brown Goldberg, Pat Goslee, Jason Horowitz, Barbara Liotta, Patrick McDonough, Brandon Morse, Dan Steinhilber, Lisa Marie Thalhammer

N. ELIZABETH SCHLATTER, Deputy Director and Curator of Exhibitions, University of Richmond Museums, Richmond, VA

Hsin-Hsi Chen, Irene Clouthier, Joelle Meredith Francht, Ron Johnson, Sue Johnson, Kirsten Kindler, Martin McFadden, Susan Noyes, Erling Sjovold, Jessica Van Brakle, Barbara Weissberger, Andrew Wodzianski, Amy Glengary Yang, Shannon Young

Additional works on view in the exhibition this year include a new series of glass sculptures created by Joe Corcoran, David D'Orio, Steve Jones, and Megan Van Wagoner, members of DC GlassWorks, a public access glass blowing and sculpture facility located in Hyattsville, MD. These pieces will be featured in the museum exhibition and on the dining tables during the auction event, also available for bid.

The Cream exhibition is open for viewing, Tuesday - Sunday, 11am - 4pm at the Katzen Arts Center, 4400 Massachusetts Ave. NW. Admission is Free. More information on the exhibition is available at www.wpadc.org. Preview the works at auction.wpadc.org.

About the Art Auction Gala
Now in its 29th year, the WPA Art Auction Gala will be held at the Katzen Arts Center on the campus of American University and is the organization's most important fund raising event. Guests include more than 400 artists, collectors, and business leaders vying to bid on the works included in the Cream exhibition, as included above. The event supports WPA mission's to promote emerging and established artists in the greater DC metropolitan region. The gala dinner is sold out but information on purchasing party tickets will be available at auction.wpadc.org.

Best deal in the auction block (in my clearly biased opinion)? This gorgeous piece.

Dawson on local shows

Jessica Dawson has some good mini-reviews of some top DC area shows here.

Pencil in the date

The place to be tomorrow is...

Washington Project for the Arts (WPA)'s opening of its newest exhibition, Cream, January 30 - March 6, 2010, at the American University Museum at the Katzen Arts Center.

This annual exhibition features works by more than 110 local and national artists selected by an esteemed group of eight top curators including scholars, museum directors, practitioners and collectors. All works are on view until the WPA Annual Art Auction Gala, which will take place March 6, 2010, during which the exhibited works are available to the highest bidders.

(Update: AU MFA students will be having open studios on Saturday as well. The studios are located on the second floor of the Katzen Center.)

An opening reception will be held on Saturday, January 30, 2010 from 6-9pm, along with a talk by the curators on Thursday, February 25, 2010, 6:30-9:30pm, both at the Katzen Arts Center, 4400 Massachusetts Ave. NW, WDC.

The 29th iteration of this exhibition highlights some of the region's most talented artists, presenting a broad range of media and styles of both new and emerging artists as well as more established career artists. As an annual WPA presentation, the auction exhibition has gained new stature and recognition, evolving from a brief 'showing' of artists' works as a preview for the WPA's auction event, to one of the most prestigious and recognizable art showcases of its kind, with a high caliber of notable curators selecting the works. Cream is a notable survey of contemporary art in the region and beyond, with selected works representing the cream of the crop and the talent of the artists included that rose above thousands of others viewed during the curatorial process.

"We are tremendously pleased with the participating curators and their art selections - the work is fresh and exciting, and there are artists with long-standing ties to WPA as well as new names that the curators are introducing to the public," said Lisa Gold, WPA's Executive Director. "It was particularly rewarding to have a window into the curatorial process this year," she added, referring to 36 Studios- Part I, a 36-hour tour with collector Mera Rubell, during which she visited with 36 artists to inform her exhibition artwork selections.

Curator View and Presentation of Alice Denney Award
Thursday, February 25, 2010, 6:30-9pm

Curator and former WPA Executive Director Jock Reynolds will present the Alice Denney Award for Support of Contemporary Art to James F. Fitzpatrick, followed by a slide show and short talk by Cream curators about their exhibition selections and a preview of the exhibition.

Admission to the exhibition and curator talk is free and open to the public. Seating for the curator talk is limited; attendees are encouraged to RSVP by February 19 to info@wpadc.org.

Cream exhibition curators and their selected artists include:

KEN ASHTON, Visual Artist and Museum Technician for Works on Paper, Corcoran Gallery of Art, Washington, DC

Margaret Adams, Chan Chao, Natalie W. Cheung, Billy Colbert, Frank Hallam Day, Matthew Girard, Avi Gupta, James Huckenpahler, Michael Dax Iacovone, Hatnim Lee, Marissa Long, Kate MacDonnell, Beatrice Valdes Paz, Ding Ren, E. Brady Robinson

KRISTEN HILEMAN, Curator of Contemporary Art, The Baltimore Museum of Art, Baltimore, MD

Ken Ashton, Clarke Bedford, iona brown, Renee Butler, David Carlson, Zoë Charlton, Mary Coble, Jennifer Dorsey, Susan Eder & Craig Dennis, Bernhard Hildebrandt, Ryan Hill, Brece Honeycutt, Dean Kessmann, Cara Ober, Erik Sandberg, Joe White

CAROL K. HUH, Assistant Curator of Contemporary Asian Art, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC

Jon Bobby Benjamin, Howard Carr, Neil Greentree, Max Hirshfeld, Tim Hyde, Franz Jantzen, Courtney Jordan, Martin J. Kotler, Jeffrey Smith, Stanley Staniski, Oliver Vernon

JOANNA MARSH, The James Dicke Curator of Contemporary Art, Smithsonian American Art Museum, Washington, DC

Mark Dion, Michelle Elzay, Kota Ezawa, Devon Johnson, Mark Newport, James Prosek, Jean Shin, Joseph Smolinski, Alison Elizabeth Taylor, René Treviño

JOCK REYNOLDS, The Henry J. Heinz II Director and Visual Artist, Yale University Art Gallery, New Haven, CT

William Christenberry, Tom Green, Jacob Kainen, Betsy Packard, Lisa Scheer, Jeff Spaulding, Alan Stone, William Willis, Yuriko Yamaguchi

CHARLES RITCHIE, Visual Artist and Associate Curator of Modern Prints and Drawings, National Gallery of Art

Jay Bolotin, Astrid Bowlby, Georgia Deal, Douglas Florian, Cassandra Kabler, Mark E. Karnes, Karey Ellen Kessler, Sangram Majumdar, Rob Matthews, Beverly Ress, James Stroud, Lynn Sures, Bill Thompson, Alice Whealin, John Wilson, Janine Wong

MERA RUBELL, Co-founder, Rubell Family Collection, Miami, FL

m. gert barkovic, Holly Bass, Judy Byron, F. Lennox Campello, Rafael Cañizares-Yunez, Adam de Boer, Mary Early, Victoria F. Gaitán, Carol Brown Goldberg, Pat Goslee, Jason Horowitz, Barbara Liotta, Patrick McDonough, Brandon Morse, Dan Steinhilber, Lisa Marie Thalhammer

N. ELIZABETH SCHLATTER, Deputy Director and Curator of Exhibitions, University of Richmond Museums, Richmond, VA

Hsin-Hsi Chen, Irene Clouthier, Joelle Meredith Francht, Ron Johnson, Sue Johnson, Kirsten Kindler, Martin McFadden, Susan Noyes, Erling Sjovold, Jessica Van Brakle, Barbara Weissberger, Andrew Wodzianski, Amy Glengary Yang, Shannon Young

Additional works on view in the exhibition this year include a new series of glass sculptures created by Joe Corcoran, David D'Orio, Steve Jones, and Megan Van Wagoner, members of DC GlassWorks, a public access glass blowing and sculpture facility located in Hyattsville, MD. These pieces will be featured in the museum exhibition and on the dining tables during the auction event, also available for bid.

The Cream exhibition is open for viewing, Tuesday - Sunday, 11am - 4pm at the Katzen Arts Center, 4400 Massachusetts Ave. NW. Admission is Free. More information on the exhibition is available at www.wpadc.org. Preview the works at auction.wpadc.org.

About the Art Auction Gala
Now in its 29th year, the WPA Art Auction Gala will be held at the Katzen Arts Center on the campus of American University and is the organization's most important fund raising event. Guests include more than 400 artists, collectors, and business leaders vying to bid on the works included in the Cream exhibition, as included above. The event supports WPA mission's to promote emerging and established artists in the greater DC metropolitan region. The gala dinner is sold out but information on purchasing party tickets will be available at auction.wpadc.org.

Best deal in the auction block (in my clearly biased opinion)? This gorgeous piece.

Wanna go to an artist's talk tomorrow?

Alan Feltus and Lani Irwin will be discussing their work and exhibition at AU's Katzen Museum at American University tomorrow Saturday, Jan. 30, 5 p.m. Free and open to the public.

Alan Feltus. 2004 Summer.

Campello Sisters Coming to Town

Some shameless promotion of my two daughters, Vanessa and Elise, both of whom are coming to town in March to meet Little Junes.

Both have extensive modeling experience, so if anyone is looking for a Cuban-American model for anything in late March, drop me an email.

Vanessa Anne Campello de Kraus


Elise Lena Campello y Strasser

Drag

Jason Horowitz's new Drag portfolio is kicking off the decade in style with three shows opening in the next month (two this weekend!). That's what you call a hard working artist.


Transhuman Conditions
Arlington Arts Center
3550 Wilson Blvd, Arlington, VA 22201
Exhibition dates: January 29 to April 3, 2010
Opening reception: Friday January 29, 2010, 6 to 9 pm
Opening this Friday Transhuman Conditions is curated by Jeffry Cudlin; the show will include two of the Drag images super-sized to ten feet wide.

Cream, WPA 29th Annual Auction Exhibition
American University Museuem at the Katzen Center
4400 Massachusetts Avenue, NW DC 20016
Exhibition Dates: January 30 to March 6, 2010
Opening reception: January 30, 2010, 6 to 9 pm
Curators' talk: Thursday, February 25, 2010, 6:30 to 9 pm
Auction gala: March 6, 2010 (tickets required)
Two of Jason's pieces were selected for this exhibition by collector Mera Rubell, founder of the Rubell Family Collection in Miami, during her whirlwind tour of DC area artist studios last month.

Drag
Curator's Office
1515 14th Street, NW, Washington, DC 20005
Exhibition dates: February 20, 2010 to March 27, 2010
Opening reception: February 20, 2010, 6 to 8 pm
This will be Jason's second one-person exhibition at Curator's Office.

Walk through MIA 2010

A quick walk through the Miami International Art Fair (MIA) held this last January at the Miami Beach Convention Center.

Touchstone Gallery moving

After a long intensive search, Touchstone Gallery is putting the finishing touches on plans for a new and modern gallery at 901 NY Avenue NW, an attractive street-level location between the National Museum of Women in the Arts and the new DC convention center, and around the corner from the new Longview Gallery.

Wanna go to a DC opening later this week?


Project 4 presents a solo exhibition of paintings by San Francisco based artist, Adam “5100” Feibelman. Drawing from historical influences in photography, printmaking and painting and combining them with the contemporary process of graffiti, Adam “5100” Feibelman creates photorealistic, monochromatic scenes reminiscent of the grit of industrial cities.

Art Shanghai

Dr. Milagros Bello, the curator of the Latin American Pavillion at the Shanghai Art Fair 2010 has invited me to exhibit my work at Art Shanghai 2010.

I'm buzzed about that - now if only the logistics cooperate.

Alan Feltus and Lani Irwin at the Katzen

I missed the opening this last weekend The opening is this Saturday, Jan. 30th, but I'm already hearing great things about the Alan Feltus and Lani Irwin exhibition at the Katzen Museum at American University.

Alan Feltus. 2004 Summer.
This traveling exhibition started at the University of Tulsa. After American University Museum it will proceed to George Mason University in Fairfax, VA, April 5 - May 7, then to Space 301 in Mobile, AL, May 14 - July 4, and on to the SoFA Gallery, Indiana University, Bloomington, September 3 - October 9.

There is a Gallery talk with Alan Feltus and Lani Irwin on Saturday, Jan. 30, 5 p.m. Free and open to the public.

Angry

Greg Allen reports on the Running for cover(age) panel discussion that took place a couple of weeks ago.

As I said last night, the Washington )#$%ing Post has absolutely no critical credibility with anyone in the art world outside of DMV. And it should be obvious from last night, too, that many people in DC feel the same way.

138 people showed up on a freezing night! DMV stands for DC, Maryland, and Virginia. Read his report here.

Pink Line also reported on the panel and her report also is a good read.

Many people who attended the panel discussion were upset that the Dawson article wasn't thinky enough for them. It wasn't meant to be thinky! In fact, I'm not so sure any of the writing in a newspaper is meant to be thinky. Several suggested that we need a publication dedicated to art reviews in DC. Not a bad idea! It would fill the gap that a paper like the Washington Post can't fill. Wish there were a way to make such a print publication financially viable. Perhaps an online forum would do the trick?

Some were upset that the article was too negative and didn't uplift our art community. Kriston [Capps] said newspaper writers do not have a responsibility to uplift an art scene and build community. Their job is to write stories that people want to read. When writers pitch stories to their editors, the stories must have an angle or a hook that will compel people to read the paper. This is the nature of journalism.

Read the Pink Line report here.

Benefactor Strikes Again

Remember the "Benefactor" and his DC artworld antics? Well... he's back.

Check his latest antic here.

Maryland Symposium

Online Registration is now open for the upcoming symposium co-sponsored by the David C. Driskell Center and the University of Maryland University College

Autobiography/Performance/Identity: A Symposium on African American and African Diasporan Women in the Visual Arts - March 5 and 6, 20010

Featuring a keynote address by Lorraine O'Grady, and a performance by my good friend and Boston Cuban-American artist Maria Magdalena Campos-Pons and more.

See the program online here and register for the symposium online here.

For more information contact
David C. Driskell Center
1214 Cole Student Activities Building
University of Maryland
College Park, MD 20742
TEL 301-314-2615
FAX 301-314-0679

On the subject of titles

I'm sort of a title fanatic when it comes to artwork, and often as the artwork itself develops, it reveals a title to the artist - unless that artist is a lazy bum with a propensity for "Nude #9" or a myriad of "untitled" as titles.

A perfect example of this is my drawing Woman on the Moon about to be swept off her feet by a Flying Bald Man.

"Woman on the Moon about to be swept off her feet by a Flying Bald Man"
Charcoal on Paper, c. 2005. 6 x 4.5 inches
When I started this drawing, it was just the female figure with her arms wide open. As I introduced the dark charcoal around her, a flying figure revealed itself amongs the layers of charcoal and I grabbed the kneaded eraser and worked the charcoal to reveal a figure of a flying bald man. Titling the drawing was then super-easy.

In Facebook, Jerry Salz posted:

What are good titles for works of art. Damien Hirst is a bad artist with good titles: The Shark is "The Physical Impossibility of Death in the Mind of Someone Living." The crappy skull is called, "For the Love of God." There's always, Courbet's "The Origin of the World;" Morton Schamberg's "Portrait of God;" and Picabia's "Portrait of Cezanne."

And do far he's received 154 responses.

Cool question uh? So let me copy Jerry's interesting question and ask: what are some good titles? Let me know in the comments.

Time for the Trawick!

Deadline: Friday, April 9, 2010

The Bethesda Arts & Entertainment District is accepting submissions for The Trawick Prize: Bethesda Contemporary Art Awards. The annual juried contemporary art competition awards $14,000 in prize monies to four selected artists. Deadline for submissions is Friday, April 9, 2010 and up to 12 artists will be selected for a group exhibition during the month of September.

The competition will be juried by Harry Cooper, Curator of Modern and Contemporary Art at the National Gallery of Art in Washington, D.C.; Robert Haywood, Deputy Director at the Contemporary Museum in Baltimore, MD and Emily Smith, Curatorial Fellow in Modern and Contemporary Art at the Virginia Museum of Fine Arts in Richmond, VA.

The first place winner will be awarded $10,000; second place will be honored with $2,000 and third place will be awarded $1,000. A “young” artist whose birth date is after April 10, 1978 may also be awarded $1,000.

Artists must be 18 years of age or older and residents of Maryland, Virginia or Washington, D.C. Original painting, drawing, photography, sculpture, fiber art, digital, mixed media and video are accepted. The maximum dimension should not exceed 96 inches in any direction. No reproductions. Selected artists must deliver artwork to exhibit site in Bethesda, MD. All works on paper must be framed to full conservation standards. Each artist must submit five slides or five images on CD, application and a non-refundable entry fee of $25.

Details here.

Wanna go to an opening tonight?

Sixteen writers and sixteen visual artists from Washington, D.C., and beyond have paired to create artworks that resonate with each other for a new exhibition, Call + Response. The show, which includes the work of a Guggenheim fellowship recipient and seven Hamiltonian Fellows, will run from January 23 until February 13, 2010, at the Hamiltonian Gallery. An opening reception will be held on Saturday, January 23, from 7 p.m. to 9 p.m.

Call + Response's participants have given a new twist to the term "call and response" (a succession of two distinct phrases played by different musicians in which the second phrase comments on or responds to the first). For each pairing, the writer has provided the call and the visual artist has created the response. The result is paired works that resonate with each other, building a bridge between two distinct but fertile communities.

The writers each wrote several short pieces, which were then distributed to the artists. One at a time, each artist selected a piece to respond to without knowing the identity of its author, until every author was paired with an artist. At the gallery, each artwork will be displayed together with the written piece to which it responds.

One pairing brings together writer Matt Klam and artist Anthony Dihle, both residents of D.C. Klam, the author of the short story collection Sam The Cat and a recipient of a Guggenheim fellowship, a Whiting Writers' Award, a National Endowment of the Arts grant, and a PEN/Robert Bingham Award, contributed a new story entitled At Donna's,Thanksgiving 1992. Dihle, who earned his BFA in Graphic Design from the Rhode Island School of Design and curated a show of D.C. indie rock concert posters at Civilian Art Projects in June 2009, is responding to it with a series of oil paintings.

Another pairing matches poet Eleanor Graves with artist Lam Vuong. Graves has been teaching poetry, literature, and composition since coming to the D.C., area in 2003. She received an MFA in poetry from George Mason University and is a recipient of the Mary Rinehart Award in Poetry, with poems appearing in Phoebe, Practice, and Hayden's Ferry Review. Vuong was born in Pascagoula, Mississippi, to Vietnamese refugees. His photography, watercolors, and installations deal with the nuances of loneliness and confusion in dating and Asian American culture. He started his MFA at CalArts last fall and is responding to Graves' new poem Gorgeous Evasions with a photographic work.

Call + Response is co-curated by William Bert and Kira Wisniewski. "So many writers and artists live in D.C., and we wanted to get them talking to one another and sharing work," says Bert. "We knew that what they produced would be something special."

"Collaboration and communication are at the root of this project, and we hope that the paired works spark dialogue beyond the participants and into the community," explains Wisniewski.

As a part of their Support Local Creativity campaign, independently-owned Flying Dog Brewery, based in Frederick, Maryland, will provide sponsorship in the form of world-class, locally-produced American craft beer, available complimentarily at the opening.

H&F Fine Arts Gallery Closing

From their news release:

After 3 years of support from the Metro DC area, we have made the difficult decision to close. The past year has been very challenging for our local arts' communities. Several galleries in the metropolitan area have closed and unfortunately we will follow suit.

The past 3 years have been an incredible experience. Great exhibitions curated by J.T. Kirkland, Lenny Campello, Tonya Jordan, and Marvette Perez. The excitement of our first Washington Post Review! Exhibitions with artists Alan Binstock, Kristen Copham, Dana Ellyn, Andrew Krieger, and Michael Platt just to name a few.

Thank you to everyone that supported our exhibitions. Many of you traveled from DC, VA, and many areas of MD. We always appreciated the support!!!

Sincerely,
Karen Handy and Cheryl Fountain

H&F Fine Arts was a beautiful space and will be sorely missed.

Cream at the Katzen

Washington Project for the Arts (WPA) has announced the opening of its newest exhibition, Cream, January 30 - March 6, 2010, at the American University Museum at the Katzen Arts Center.

This annual exhibition features works by more than 110 local and national artists selected by an esteemed group of eight top curators including scholars, museum directors, practitioners and collectors. All works are on view until the WPA Annual Art Auction Gala, which will take place March 6, 2010, during which the exhibited works are available to the highest bidders.

An opening reception will be held on Saturday, January 30, 2010 from 6-9pm, along with a talk by the curators on Thursday, February 25, 2010, 6:30-9:30pm, both at the Katzen Arts Center, 4400 Massachusetts Ave. NW, WDC.

The 29th iteration of this exhibition highlights some of the region's most talented artists, presenting a broad range of media and styles of both new and emerging artists as well as more established career artists. As an annual WPA presentation, the auction exhibition has gained new stature and recognition, evolving from a brief 'showing' of artists' works as a preview for the WPA's auction event, to one of the most prestigious and recognizable art showcases of its kind, with a high caliber of notable curators selecting the works. Cream is a notable survey of contemporary art in the region and beyond, with selected works representing the cream of the crop and the talent of the artists included that rose above thousands of others viewed during the curatorial process.

"We are tremendously pleased with the participating curators and their art selections - the work is fresh and exciting, and there are artists with long-standing ties to WPA as well as new names that the curators are introducing to the public," said Lisa Gold, WPA's Executive Director. "It was particularly rewarding to have a window into the curatorial process this year," she added, referring to 36 Studios- Part I, a 36-hour tour with collector Mera Rubell, during which she visited with 36 artists to inform her exhibition artwork selections.

Curator View and Presentation of Alice Denney Award
Thursday, February 25, 2010, 6:30-9pm

Curator and former WPA Executive Director Jock Reynolds will present the Alice Denney Award for Support of Contemporary Art to James F. Fitzpatrick, followed by a slide show and short talk by Cream curators about their exhibition selections and a preview of the exhibition.

Admission to the exhibition and curator talk is free and open to the public. Seating for the curator talk is limited; attendees are encouraged to RSVP by February 19 to info@wpadc.org.

Cream exhibition curators and their selected artists include:

KEN ASHTON, Visual Artist and Museum Technician for Works on Paper, Corcoran Gallery of Art, Washington, DC

Margaret Adams, Chan Chao, Natalie W. Cheung, Billy Colbert, Frank Hallam Day, Matthew Girard, Avi Gupta, James Huckenpahler, Michael Dax Iacovone, Hatnim Lee, Marissa Long, Kate MacDonnell, Beatrice Valdes Paz, Ding Ren, E. Brady Robinson

KRISTEN HILEMAN, Curator of Contemporary Art, The Baltimore Museum of Art, Baltimore, MD

Ken Ashton, Clarke Bedford, iona brown, Renee Butler, David Carlson, Zoë Charlton, Mary Coble, Jennifer Dorsey, Susan Eder & Craig Dennis, Bernhard Hildebrandt, Ryan Hill, Brece Honeycutt, Dean Kessmann, Cara Ober, Erik Sandberg, Joe White

CAROL K. HUH, Assistant Curator of Contemporary Asian Art, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC

Jon Bobby Benjamin, Howard Carr, Neil Greentree, Max Hirshfeld, Tim Hyde, Franz Jantzen, Courtney Jordan, Martin J. Kotler, Jeffrey Smith, Stanley Staniski, Oliver Vernon

JOANNA MARSH, The James Dicke Curator of Contemporary Art, Smithsonian American Art Museum, Washington, DC

Mark Dion, Michelle Elzay, Kota Ezawa, Devon Johnson, Mark Newport, James Prosek, Jean Shin, Joseph Smolinski, Alison Elizabeth Taylor, René Treviño

JOCK REYNOLDS, The Henry J. Heinz II Director and Visual Artist, Yale University Art Gallery, New Haven, CT

William Christenberry, Tom Green, Jacob Kainen, Betsy Packard, Lisa Scheer, Jeff Spaulding, Alan Stone, William Willis, Yuriko Yamaguchi

CHARLES RITCHIE, Visual Artist and Associate Curator of Modern Prints and Drawings, National Gallery of Art

Jay Bolotin, Astrid Bowlby, Georgia Deal, Douglas Florian, Cassandra Kabler, Mark E. Karnes, Karey Ellen Kessler, Sangram Majumdar, Rob Matthews, Beverly Ress, James Stroud, Lynn Sures, Bill Thompson, Alice Whealin, John Wilson, Janine Wong

MERA RUBELL, Co-founder, Rubell Family Collection, Miami, FL

m. gert barkovic, Holly Bass, Judy Byron, F. Lennox Campello, Rafael Cañizares-Yunez, Adam de Boer, Mary Early, Victoria F. Gaitán, Carol Brown Goldberg, Pat Goslee, Jason Horowitz, Barbara Liotta, Patrick McDonough, Brandon Morse, Dan Steinhilber, Lisa Marie Thalhammer

N. ELIZABETH SCHLATTER, Deputy Director and Curator of Exhibitions, University of Richmond Museums, Richmond, VA

Hsin-Hsi Chen, Irene Clouthier, Joelle Meredith Francht, Ron Johnson, Sue Johnson, Kirsten Kindler, Martin McFadden, Susan Noyes, Erling Sjovold, Jessica Van Brakle, Barbara Weissberger, Andrew Wodzianski, Amy Glengary Yang, Shannon Young

Additional works on view in the exhibition this year include a new series of glass sculptures created by Joe Corcoran, David D'Orio, Steve Jones, and Megan Van Wagoner, members of DC GlassWorks, a public access glass blowing and sculpture facility located in Hyattsville, MD. These pieces will be featured in the museum exhibition and on the dining tables during the auction event, also available for bid.

The Cream exhibition is open for viewing, Tuesday - Sunday, 11am - 4pm at the Katzen Arts Center, 4400 Massachusetts Ave. NW. Admission is Free. More information on the exhibition is available at www.wpadc.org. Preview the works at auction.wpadc.org.

About the Art Auction Gala
Now in its 29th year, the WPA Art Auction Gala will be held at the Katzen Arts Center on the campus of American University and is the organization's most important fund raising event. Guests include more than 400 artists, collectors, and business leaders vying to bid on the works included in the Cream exhibition, as included above. The event supports WPA mission's to promote emerging and established artists in the greater DC metropolitan region. The gala dinner is sold out but information on purchasing party tickets will be available at auction.wpadc.org.

Best deal in the auction block (in my clearly biased opinion)? This gorgeous piece.

Smart Kid

Smirking Chimp on Gopnik

But it is a great shame if some of the last outposts of criticism should be used to play "Nearer My God To Thee" as the ship sinks. That funereal sense is really what you could get from Mr. Gopnik's description in today's Washington Post of going to the Phillip's Collection to see Renoir. He spoke of having to "drag" himself in front of the picture. And by the way, even if Mr. Gopnik is not gay, he sure sounds like a drama queen. Naturally he then must let us in on the great secret: that this great painting is "coy" and "staged". Well, truly this painting has always been recognized as one of the most artificial in the sense of the German Kunstlisch, and "staged" and "coy" are close relations to that sense . What Gopnik is observing is more telling about the ennui that is created by having to regularly look at so much bad art, and trying to come up with reasons for why it shouldn't be portrayed that way. Thus when he stands in front of a great painting like the Luncheon, he has no choice but drift into the Cultural Autism that characterizes our age.

Read the whole thing here.

Jessica off the mark... again

In this article, the Washington Post's freelance galleries' critic Jessica Dawson writes that an artist's "highest calling" is "creating work that challenges social and political norms."

Really, did I miss that in Janson's?

OK, OK, I know that this is simply Jessica's own opinion being passed as some sort of highest calling agreement that we've all signed up to before receiving our art degrees.

Because Jessica Dawson is an art critic and not an artist, she views what "real art" should be from a postmodern theoretical viewpoint in which a lot of art critics and writers, and some artists, may see art's highest calling as indeed creating work that challenges social and political norms.

That artwork and those artists are just members of a much larger set of artists and art which has an equally important "higher calling" in their art that has zip to do with social or political norms, such as 98% of contemporary abstract painters with the other 2% just claiming that their work does challenge some social or political norm. For some of those, their higher calling may just be the beauty of what can be achieved by a talented hand and brush with the nuances of color and form and shape.

But Dawson's comment is an eye-opening inside view at the mind of this Washington Post freelancer, and somewhat sad in that her viewpoint excludes the vast majority of other highest callings that artists may have.

Philippa over at the Pink Line Project drives a good historical stake through the heart of Dawson's silly segregationist viewpoint. Read that here.

Feh!

Opportunity for Artists

Deadline: February 1, 2010

The Kinsey Institute 2010 Juried Art Show is now accepting submissions from all artists 18 years and older creating work relating to human sexual behavior, gender and/or reproduction. They welcome a broad range of submissions exploring subjects including: sex, gender, sexuality, eroticism, reproduction, romantic relationships, the politics of sex and gender, human figure, sexuality and illness. The exhibit will explore the positive and negative ways these topics affect individuals, couples and/or society.

All selected works will be exhibited at the Indiana University SoFA Gallery, May 28-July 30, 2010. Entries must be original works from medias including: painting, drawing, video art, installations, printmaking, photography, sculpture, ceramics, fibers, computer based art, or mixed media.

Artist can submit their work online at this website or by mail with images stored on CD and payment by check. Entry fees are $30 for one piece, $35 for two, $40 for three.

Shocked

My mouth is still wide open from what happened last night at the People's Soviet Socialist Commonwealth of Massachusetts.

Visiting Artist Program at the Torpedo Factory Art Center

Deadline: February 28, 2010

The Torpedo Factory Art Center in Old Town Alexandria, Virginia has opportunities for one, two, or three-month residencies between June 1 and August 31, 201.

Visiting Artists will be provided with studio workspace, and will be able to display and sell original work to the public.

Download the prospectus and application form from this website.

There is no application fee. The deadline for application is February 28, 2010.

Juror: Jack Rasmussen, Director and Curator of the American University Museum at the Katzen Art Center.

Send questions to: vap@torpedofactory.org. No telephone calls please.

Antonio Prohías


Today is the birth date of Antonio Prohías (died February 24, 1998), born in Cienfuegos, Cuba. Prohías was the creator of the comic strip Spy vs. Spy for MAD Magazine.

On creating art

When I was in Miami doing the Miami International Art Fair a few days ago, I received a phone call from a very well-known poet.

Once he identified himself, he explained that he was calling because he was interested in using one of my drawings, which is in his collection, in his next book. The drawing, he explained, which he hangs in his kitchen in New York, has managed to be come a stern and vigilant observer of his daily activities, and he has written a poem about it.

I was honored by both the request (to which I gave my permission) and also curious as to where he had acquired the piece, which once described I recognized as a piece that I did maybe 2-3 years ago.

He told me that he had acquired the piece at an auction in New York, where he resides.

We connected rather well and spoke for nearly 30 minutes, and I promised to send him a CD with more images of my available work.

But the point that stayed behind with me, and something that I’ve been mulling for years now, is the curious travels and life of a piece of artwork once it leaves the artist’s studio and is acquired by someone.

I first started dispersing my artwork back when I was a teenager in Brooklyn. Around when I was 13 or 14, I lived in a six apartment brownstone in the East New York neighborhood of Brooklyn. The building was owned by my uncle, and part of my duties was to sweep and mop all three floors every weekend. As such I had access to the basement, which was used mostly for storage and had a rather sizable assortment of old paint cans of all sizes and colors.

Those paints, along with regular commercial paint brushes and cardboard were my first canvasses, and I used to paint imaginary landscapes on them, which then I would take to Manhattan and sell them in parks around 14th Street, across the street from Macy’s.

Then when I was in art school at the University of Washington, I was one of the many artists who sold artwork at Seattle’s wonderful Pike Place Market. It was there that I sold nearly every one of my art school assignments as well as hundreds of watercolors and drawings created specifically to be sold.

After art school I moved to Europe, returned to the US for postgraduate school, moved back to Europe, returned again for good, and all through that time began to sell work at gallery shows and art fairs, and by my own estimates I believe that by now I have sold, given away, traded and dispersed well over 5,000 paintings, drawings, prints, reproductions and sculptures in the last 40 years.

Out of that rather huge number, I have no idea where 98% of them are, although all through those same years I have never, ever, stopped producing art. Even when I was in Beirut, in the middle of a war back in the early 80s, I never stopped drawing and creating art.

Every once in a while, like the phone call from the New York poet, a work’s location returns to me, and with the emergence of the Internet, more and more have been making their way back to me as often their new or original owners want to gather information on the creator.

I’ve had emails from Europe, Latin America and Asia, with images attached, as someone who has come across and acquired a Campello wants to know more about it, or confirm its provenance.

Works have been donated to universities and other to institutions. Collectors have bought them at auction (oddly enough mostly in Europe), and people have even acquired them at antique shops and other stores.

It’s a fascinating trek that the art takes and that occurs without the knowledge of the artist. I often regret that I never kept better records of where and who owns the work (I still don’t), but then again, I also like the fact that these pieces are dispersed all over the planet and will probably be still around for centuries after I am gone.

Some don’t even have owners. Between 1975 and 1992 I created about 100 small figurative clay sculptures that I then buried underground throughout Europe (mostly in Spain, Italy and the United Kingdom). I wanted them to be “discovered” accidentally by future diggers. Some may never see the surface again.

I’ve also done a “hotel art intervention” project where I would disassemble whatever hotel art was in my room and either create a new piece of art done on the back of the print or whatever was in the frame, or in the rare cases where a bad painting (usually one of those one of a million Chinese oil paintings), I would “add” to the painting, and reframe the work and re-hang it in the room. I did this dozens and dozens of times over the years and just did one during one of my last hotel stays.

And in three instances, between 1977-1981, wearing a pair of white workman’s overalls, I installed three separate framed large watercolors in three different lobbies of three different skyscrapers in downtown Seattle.

I haven’t got the foggiest idea where any of that work is today.

But they’re out there, most of them anyway, and years from now, when I’m no longer here, they’ll still be out there.

It’s a good feeling.

Nevin Kelly Gallery closes

Here's the news release:

With a little bit of sadness and great appreciation for your support over the years, Nevin Kelly Gallery will close its permanent gallery space effective January 31, 2010 in favor of a different approach to exhibiting art. For the past seven years or so, we have tried to bring a fresh perspective to offerings of contemporary art in the Washington, DC area. We have featured work by established Polish and European artists and have showcased works by many talented local artists. Along the way, we have made some great friends and have had the pleasure of being surrounded by some really fine art.

The past year has been exciting. After six years on U Street, we moved to the Highland Park Building in Columbia Heights. We are grateful to Chris Donatelli and Bozzuto Management for their support of our efforts and for the use of public space in the building to display art. We also made a second trip to the Affordable Art Fair in New York City and received a heart-warming nomination for Best Gallery in DC courtesy of the readers of Express Newspaper, owned and printed by the Washington Post. In this last year, we hosted two solo shows featuring works by H. Wesley Wheeler and Ellyn Weiss, respectively, and staged two group exhibitions that reflected the issues of the day. The first, Stimulus, was meant to stimulate the mind and the economy by offering all works at $500 or less. The second, Zeitgeist II: What's Important Now?, a follow-up to 2008's Under Surveillance, presented the participating artists' views on the most important issues we currently face as Americans.

Although we are closing our retail space, we hope to continue our participation in DC's vibrant art scene. We will seek opportunities to host shows in pop-up locations and will continue to gather artists together to talk and showcase their ideas.

So, stay tuned by checking our blog or receiving updates via our newsletters. Thanks for being a part of our community for the last few years!

Airborne

Heading home today... with a 6:30AM departure that means a 5AM arrival at the airport... feh.

Mellema on CHAW

Damn we need more good art critics like Kevin Mellema! See his published review of the current CHAW show here.

Sixth Annual Bethesda Painting Awards

Deadline: Friday, February 26, 2010

The Bethesda Arts & Entertainment District is currently accepting applications for the sixth annual Bethesda Painting Awards, a juried competition honoring four selected painters with $14,000 in prize monies. Deadline for slide submission is Friday, February 26, 2010. Up to eight finalists will be invited to display their work from June 1 – 26, 2010 in downtown Bethesda at the Fraser Gallery.

The competition will be juried by Dr. Carolyn Carr, Deputy Director and Chief Curator of the National Portrait Gallery, Smithsonian Institution in Washington, D.C.; Mark Karnes, drawing and painting teacher at Maryland Institute College of Art and Erling Sjovold, painting professor at the University of Richmond.

The first place winner will be awarded $10,000; second place will be honored with $2,000 and third place will be awarded $1,000. A “young” artist whose birth date is after February 26, 1980 may also be awarded $1,000.

Artists must be 18 years of age or older and residents of Maryland, Virginia or Washington, D.C. All original 2-D painting including oil, acrylic, watercolor, gouache, encaustic and mixed media will be accepted. The maximum dimension should not exceed 60 inches in width or 84 inches in height. No reproductions. Artwork must have been completed within the last two years and must be available for the duration of the exhibition. Digital entries on CD will be accepted.

Each artist must submit five slides, application and a non-refundable entry fee of $25.

Applications are available online at www.bethesda.org or please call 301/215-6660. You may also send a self-addressed stamped envelope to the Bethesda Painting Awards, c/o Bethesda Arts & Entertainment District 7700 Old Georgetown Road, Bethesda, MD 20814.

About the prize:

The Bethesda Painting Awards was established by local business owner Carol Trawick in 2005. Ms. Trawick has served as a community activist for more than 25 years in downtown Bethesda. She is the former Chair of the Bethesda Arts & Entertainment District, Past Chair of the Bethesda Urban Partnership, Inc. and founder of The Trawick Prize: Bethesda Contemporary Art Awards. Ms. Trawick is the owner of an information technology company in Bethesda, Trawick & Associates.

Catriona Fraser, award-winning photographer, curator and juror is the non-voting Chair of the Bethesda Painting Awards. Ms. Fraser has directed the Fraser Gallery in downtown Bethesda since 2002. Ms. Fraser is also the Chair of The Trawick Prize and Director of the Bethesda Fine Arts Festival.

The fifth annual Bethesda Painting Awards was held in June 2009. Camilo Sanin of Jessup, MD was awarded “Best in Show” with $10,000; Heidi Fowler of Reston, VA was named second place and was given $2,000; Magnolia Laurie of Baltimore, MD was awarded third place and received $1,000 and Lillian Bayley Hoover of Baltimore, MD was bestowed with the Young Artist award and garnered $1,000.

New Administrator at the Factory

The Torpedo Factory Artists’ Association has welcomed John Luna into a newly created Administrator position to oversee the day to day business and operations of the Torpedo Factory Art Center.

TFAA Board President Rosemary Covey says, “We are thrilled to have John Luna come on board. His unique mixture of business and marketing skills combined with his genuine interest in the arts make him a great asset to the organization.”

After the consideration of some 20 well suited applicants to the position, the TFAA board selected Alexandria resident John Luna to lead their managerial endeavors. Mr. Luna’s background includes over 16 years experience in various managerial roles spanning key industries of merit for the Torpedo Factory. His experiences include work in the construction industry, media, manufacturing and operations management, healthcare, education, and project management for government and military agencies. He has worked for some notable organizations such as ESPN where he was a technical director and program producer, Bose Corporation where he still holds a top sales record, and Drexel University College of Medicine where he was senior administrator overseeing the first fully accredited on-line Continuing Medical Education program in the United States.

Mr. Luna’s education includes three degrees spanning Business with a focus in Public Relations, Audiovisual Engineering, and a scientific degree in Communications with a focus on Rhetorical Studies.

Mr. Luna is also active in the arts. In addition to being a published graphic artist and independent film actor, John can also be found playing a wide variety of music as a guitarist and bass player. He has produced and directed television as well as industrial film projects and has also been published as a voiceover artist. His past work in paint and digital photography are a personal hobby. As such he brings a solid merger of business acumen and creative talent to the Torpedo Factory for the benefit of all.

While Mr. Luna is a recent addition, as of November 2009, he’s already settling right into the daily needs of the Torpedo Factory Art Center. John is actively engaging the membership and affiliates of the TFAC daily and believes in an open culture of progressive action and personal accountability.

We wish Luna the best as the TF continues to reinvent itself.

San Diegoing

I'm in beautiful San Diego for the week and returning home on Friday. I once again want to encourage artists to enter this competition. It is not often that an opportunity comes which has no entry fees and no commission.

The deadline is the 17th - ignore the 7 January postmark requirement - that's a typo; it's the 17th. Click here for the prospectus.

Update: You can also register online here.

Deadline is almost here!

Deadline: January 17, 2010

This is the kind of opportunity that I like: absolutely no fees to submit and zero commission on sales: click here for the prospectus.

And, O yea... I'm the juror! I'll select the prizewinners once the committee selects the artists to exhibit.

Airborne

Heading to the Left Coast for some unexpected last minute lecturin' - more when I get there.

MIA – Day 5: The Last Day

0900 – Up and early again and heading out to Miami Beach. Thank Mr. Garmin for GPS navigation, as Calle Ocho was closed for some sort of event and I just kept driving parallel to it until the GPS found a back way to Miami Beach. It’s very cold at the beach, in the low 30s and everyone is wearing coats and hats. At the door to the café where I stop for coffee and pastries, two old Cuban black men are discussing various Cuban dances and arguing which one is the best one. I listen to their discussion while I drink my coffee. Picking up the machine-gun fire speed of the dialects from Havana and Oriente as they argue back and forth.

1000 – I run into Dr. Fred Ognibene, who is here with the medical convention that is taking place alongside the art fair at the convention center. I leave a couple of passes for Dr. Fred at the “will call.”

1100 – The fair opens and it is pretty quiet, so I walk around and shoot an 11 minute walkthrough video of the art fair. It will be uploaded later.

1530 – A trustee from the Miami Art Museum drops by and we chat a long time about Sandra Ramos’ work. She wants to see more images of the new work that I just received back in DC while I was here. We also discuss some possible museum donations. She also asks me to send her a CD with my own images and CV.

1600 – I sell one of my pieces to a collector who gets very passionate about it.

1645 – Although attendance has not been spectacular, the last two days have been the busiest. Still, sales are slow to come by. My niece and mother come to visit. It is the first time that my mother has visited me in an art fair. She also participates in the Argentinean fingerprint art project.

1700 – A young collector falls in love with two of Michael Janis’ gorgeous scraffito pieces. She asks for a collectors’ discount on two. I give it to her, and then she says that she has to clear it with her husband. She comes back repeatedly and takes photos of the works which she then sends to her husband. He is recalcitrant. To make a long story short, after nearly two hours of texting and negotiating, she gets one of the pieces at a dealer’s discount (she’s a Ft. Lauderdale gallerist).

1900 – Fair ends and I am exhausted and now the real hard work of packing begins.

2400 – I am finished packing and cleaning the walls. The fair is over. Tomorrow the shipper comes by, picks up the work and ships it back North (except for all the Tim Tate’s works, which will be at Art Palm Beach next weekend with Projects Gallery.

0030 – I arrive at Little Havana; the power has been off in my cousin’s side of the street for hours and he has been waiting for me to let me into his walled compound, as the electric gates do not work.

0100 – I get to bed, a flashlight by my side; feh!

MIA Day Five – Rainy Saturday

0800 – I’m awake and out of the Little Havana apartment bright and early as I want to do some visiting before heading out to Miami Beach. It is rainy and cold (in the 40s).

1200 – Fair opens and there is also another fair at the Convention Center which is now open; appears to be some sort of medical expo.

1400 – There seems to be a marked increase in traffic; maybe the bad weather is driving people indoors. I’ve shot a little video of the fair and dropped by to talk to LA gallerist Seth Carmichael. He represents DC-based artist Mark Jenkins (DC’s famous Tape Dude) and will give Mark a solo in his LA gallery in a couple of months. Seth has a well-known Jenkins sculpture in his booth.

1500 – The lady whose husband busted the Ann Plan piece on opening night comes back and buys a Sandra Ramos original collage. You reap what you sow.

1510 – The curator of the Latin American pavilion at the Shanghai Art Fair comes over and invites me to exhibit at the fair.

1605 - A local curator who has been walking around the fair invites me to leave some of my artwork with her for some of her curatorial projects. She is one of the curator's at MIA's "Next Generation" hall and so I agree to leave some drawings with her.

1630 – The woman who put the Tim Tate on hold a few days ago returns with her husband and another couple. They ask a million technical questions. She really wants the piece, but hubby is tough. He then wants to switch video cards between two separate sculptures and offers $5,000 for the piece. I say no. The wife still wants the piece. He then wants to see if he can work directly with Tate. I tell him that Tate can consider a commission. Wife still wants the piece that she wanted. He then mulls back about $5,000. I say no. He says he only wants the glass part and the Digiviewer and not the stand. I tell him that what he does with the piece once he owns it is his business, but that one can never tell what the future holds and that separating the pieces may harm the integrity of the work. I suggest that he can install the work so that only the glass part shows, and give him a couple of ideas on how to do this. He seems to like that aspect. He wants to come over to Washington and see what else Tate has. I tell him that he is welcome to do that, but that I have his latest work here and Tate is preparing for a museum show and doesn’t have that much more work available. Wife still wants the piece. They give me their contact info and promise to come back after they debate it. He mulls about $5,000 and I say no.

1645 – The director of the fair comes back and tells me that I have the best installation in the fair.

1730 – German collector comes by and is really interested in a Tate piece. As I am working with him, the 1630 couple comes back. I’m in the booth by myself and can only work one at a time. The German collector notices that the other couple when they say: “Let’s close the deal.” He tells me that he’ll be back and leaves.

1900 – 90 minutes later I am exhausted after working the most difficult sale in my life with the most difficult man in Boca Raton. They buy a Tim Tate and I believe that they will swap video cards and play their own videos in the sculpture once the piece gets delivered. It is an exhausting exercise which is fueled by a bad economy and the need to at least break even in this fair.

2100 - Saturday is over. Tomorrow is the last day. I head over to Little Havana; it's in the 30s in Miami Beach and raining.

MIA Day Four - The Weekend begins

0800 - I'm up and about as I need to get some new video cables to see if I can make the digital player work and project Tate's videos onto the wall. First I stop by a new bakery and grab three Capresse empanadas for breakfast. Then I drop by a Radio Shack and get a new video cable. Sounds easy, but it actually involved going to two Radio Shacks and one Office Depot before I found the friggin' video cable.

1100 - I arrive at the Convention Center and start fiddling with the video projector. My hunch was right and the video cable was bad. However, I also discovered that the Digiviewer is also bad. I then hunt down a new Digiviewer to replace the bad one. By the time it is noon the damned thing is finally working and the Ophelia video is projecting onto the booth wall.

1200 - 1800 - Yawn. Somewhere in there I sell an Erwin Timmers recycled glass sculpture.

1820 - Someone is interested in buying my Ophelia drawing, but they can't get over the title association with the character.

1915 - A curator from a Central American museum is interested in seeing how she can get some Sandra Ramos and Tim Tates for the museum. She tells me that the museum has no acquisition funds, which makes the issue an usually difficult one. In this case, however, I happen to have two collectors lined up to donate both Tates and Ramos' to museums who want them (hear that museum curators?). We exchange cards. She apologizes by saying that her National museum is privately funded and they don't get any money from their government. I remind her that in the US all museums are privately funded. She looks a little quizzical until I explain that even though some museums are funded by the federal government, the said government gets its funds from private citizens and private companies, and thus, by extension of my logic, all US museums are privately funded as well, with some having the government as a middle man.

2000 - I sell a Ann Plant sculpture, her second sale of the show, which is her first show ever. First sale of the day.

2100 - Day over; they're expecting a really cold rainy day tomorrow... great.

2130 - Dinner at El Chalal again with Frank and Helen. Great seafood as usual and two good Peruvian beers. Then I head back to Little Havana.

2200 - On the drive home I talk to my daughter Elise, who tells me that she just finished doing a song in a CD and will be in DC and NYC soon to do some promotional work on the radio and on TV. All the others in the CD compilation are big names; very impressive! More on that later.