Congrats!

To two very hardworking DC area artists:

Aylene Fallah's eviscerating and gutsy political artwork is included in the show "Tehran - New York" opening on Friday March 5th, 5-7pm at the Leila Taghinia-Milani Heller Gallery in New York.

And the brilliant Amy Lin will be included in “On/Off the Grid” at Irvine Contemporary in DC with an opening reception on Saturday, February 13, 6-8pm.

Snowcalypse Stories (Part II)

Yesterday I described for you my rush home from sunny California in order to be home with my family when the snowstorm arrived to the DC area.

Because I'd been up almost 30 hours, I decided to crash and get some sleep before I went out to the back yard and bring some wood closer to the house.

By the time I woke up, the snow had begun to fall, and it all looked so blissful and beautiful, that I didn't recognize the inherent dangerous beauty of a major snowfall.

The lights flickered several times that night as we went sleep. Outside, it snowed continuously.

Throughout the night we're awakened by falling branches on our roof from the huge pine tree next to the house.

One huge branch barely misses the house - that one would have done a lot of damage - but 2-3 other large ones land on the roof with a lot of crashing noises.

Little Junes wakes up around 5:30AM on Saturday morning because he is cold. He is cold (as are we) because the power has been out and the house is already in the 60s. Outside it is all covered in several inches of snow and it's falling heavily.

By 9AM the temperature inside the house has dropped a few more degrees and I decide to get dressed and trek to the backyard and bring some wood into the house, as we have no idea when the power will return. It is also impossible to escape somewhere else, as there's waist-deep snow outside and a little neighborhood recon reveals that our cul-de-sac is blocked in by a tree that has fallen at the entrance to the cul-de-sac and effectively sealed about nine houses from the rest of the neighborhood. No one can get in or out until the tree is removed and the streets are plowed. And it is still snowing.

There are footprints in the snow from the street to our front door, and I wonder who made them.

The adventure of digging wood out of a snow-covered wood pile, and dragging it uphill through waist-deep snow is not an easy one, and it takes me about five hours of this brutal exercise to drag what I estimate is enough wood for a day and a half to my back porch.

Most of the wood needs to be split, and all I have is a iron wedge and a hammer, but I begin to split the wood by hand. After all, this is how people have been doing it for centuries before the modern age, right?

Add another two hours of this really hard work to the task.


By the time I get back inside the house, I am soaked in sweat inside my three-layer outfit. I then haul a third of the wood from the back porch downstairs to the fireplace upstairs - no rest for the weary. A lot of newspaper and a lot of kindling later, the wood - most of which is young and not really dry - is burning.

An hour or so later, I hear voices in my backyard and I note tracks in the snow. Curious as to who is in my backyard, I go downstairs and through the sliding glass door of the back porch i discover two neighbors hauling away the wood that I had just dragged uphill and split.

They are embarrassed; they apologize profusely. "We're sorry," says the older man (the other man is a gigantic teenager). "We knocked on the front door, and no one answered."

"We're freezing and we were wondering if we can have some wood."

I understand their desperation. "You can have as much wood as you need," I offer, "Just take it from the wood pile down there." I point to the large wood pile down hill. "I just finished spending most of the morning dragging and splitting this wood for tonight." They drop my newly-split wood and head down the hill. "Take as much as you need," I repeat.

They take some big logs. I advise them that they're going to have to get a lot of kindling and will need to split the wood. I offer them the splitting wedge, but they just thank me for the wood and leave.

I decide to walk around the neighborhood and offer my neighbors wood for their fireplaces as long as they come and carry it back to their houses. To one elderly neighbor I offer to carry it back for him and split it for him. He thanks me but says that he's got a pretty good stash in his back porch. Another neighbor (the one to my left) has already grabbed some of my wood and offers to pay me - I smile and convince him that it is OK. I also advise him that he'll need to split it first.

Since he doesn't know how, I lend him my splitting wedge and hammer and describe how to split the wood.

I go and check on my next door neighbors, who are three women and a couple of kids, and to offer them some wood. They have plenty of wood of their own, but have no idea how to use a fire place. I go inside their minimalist decorated beautiful home and show their kids about the flute and describe how to get a fire going.

By now I am a little puzzled as to how a kid from Brooklyn is the only one in this neighborhood who knows the ages old process to get a fire going. Later, when I run into the female member of the neighbors who came into my back yard looking for wood, she tells me that they had failed to get the fire going and because the flute was closed, had gotten the house full of smoke. I offer to go and start it for them, but obviously she's pissed at her men and declines.

By now my other neighbor (the one to my left) is back and tells me that he can't figure out how to split the wood. I go to his house and see that he's been trying to split green wood. I select some cured wood from his stash and split that for him and tell him that the green ones can't be split.

By six PM it is dark and the house is in the low 50s.

But our fire is going good and in front of the fire it feels a little warmer - not much, but a little.

An open fireplace such as ours actually doesn't really heat up a house - in fact it does the opposite - but the psychological value of a roaring flame is quite good.

We set up camp in front of the fireplace with the sleeper sofa, Little Junes and a gazillion blankets.

Anderson Campello at the Snowcalypse 2010
It's 51 degrees in front of the fire when we doze off, and in the 40s in our bedrooms.

The fire is roaring, but there's a lot of green wood in there, and a lot of popping of knots and sparks and I become a little worried about going to sleep with a fire on, so I stay awake watching the fire while the family sleeps. When the fire begins to die, I doze off.

We awake around 5AM and it's in the mid 40s in the fireplace room and 38 in our bedrooms. We bring Little Junes into bed with us to keep him warm. The little dude has some many layers that he's actually quite comfortable, but soon I realize that the little guy is quite a bed hogger.


Litte Junes, Master Bedhogger, Snowcalypse 2010
Next: What happened when the snowfall ended

Snowcalypse Stories (Part I)

It's about noon last Thursday last week, Left Coast time (I was working in San Diego) when I began to receive texts from family and friends in the DC area. "Dude!" said one of them, "you better hurry back home: major snow storm is supposed to start on Friday afternoon!"

"Feh!" I thought to myself (I was in a meeting when the texts began to arrive. "My flight is supposed to arrive at BWI at 8 PM tomorrow."

Some nimble Blackberrying later, I have assessed the fact that everyone West of West Virginia is expecting "anywhere from 3-5 feet of snow." Blackberry Ops also tells me that airlines have begun to cancel flights on Friday evening.

Multiple calls to multiple airlines revels that the airline industry is still unable to cope with bad weather and that if I want to return home on Thursday night, instead of leaving as scheduled on Friday morning, I'm gonna shell about about $600 to Continental for a one way ticket back to DC area.

And the price gouging continues. As I search Expedia, prices change before my eyes as they rocked upwards. Someone suggests the red eye flight from LAX to Dulles on Virgin America. "It's only $99," says the suggester.

I check Virgin America online. He is right, that flight is $99 every night - but tonight, for some reason, it has jumped into price hyperspace and it's $552 one way. The next night is back to $99.

In the end, I book a flight on US Airways (rotten airline) out of San Diego to Phoenix and a flight on Delta (perhaps rottener) from Phoenix to Detroit and then from Detroit to Baltimore. I'm out about $450 for a one way ticket.

In San Diego I check in but US Airways can't issue me the Delta tickets. They suggest that I drop by the Delta counter to see why. I do, and they can't issue me the tickets either - and they have no idea why not, bust ask that I go to the departure gate to get my delta tickets once I land in Phoenix. I remind them that it is odd that in 2010 a major airline, running on a 2010 computer system, can't know why tickets for a flight can't be issued to the passenger checking in another airport.

There's an air of desperation as the US Airways flight boards with East bound passengers trying to beat the storm as they head back home. At around 6:45PM on Thursday night, we depart.

A few hours later we land in Phoenix, only to find out that the only way to get to the Delta flights is to take a bus to another terminal and then to check in (again) and go through security (again). Is Phoenix Airport the only American airport that hasn't figured out how to transport passengers between terminals without re-adding them to the TSA line for a second time?

Three hours later, at midnight we take off and head for Detroit. I am exhausted but I can't sleep on airplanes except for the 39 seconds when the drink cart is next to me and so they pass me by.

We land in Detroit and I have recall that I've never been a fan of this very long airport, in which some Pointdexter architect designed so that all gates are in one long, very long row. We manage to land in one end somewhere in Michigan, and have to walk all the way to the other end of the terminal, which must be somewhere near the Canadian border.

When all of us (by now a herd of BWI-bound passengers have banded together) arrive there, we find out that the gate has been changed to the other side of the terminal. This time I note the monorail inside the terminal - running above us like a toy train - and take it back to where we had landed originally. "It was good exercise," I said to myself of the long march from gate A78 to A21 and now back to A75.

We depart on time, and land at BWI at 8:30AM. The gunmetal skies tell a story as I arrive home around 10AM.

I'm running on fumes and debate going to the backyard and gathering some wood in case the power goes out and we need to use the fireplace for heat. But I am running on fumes and decide to sleep a little first, and then re-consider going out to the back and gathering some firewood.

It's a bad decision.

More tomorrow as we find out what happened when the snow came and the electricity went.

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.