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| Sperm Man. Charcoal and Conte on 300 weight paper. 10x8 inches. 2010 F. Lennox Campello |
From: Mr Edwin Martez (allanbarry964@gmail.com)
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By Charles Walter,
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Mobile Phone : 1-330-3436799
purchasing@gbpharrn.com
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| Suddenly, She Wasn't Afraid Any Longer. 2014 Charcoal on Vessel by F. Lennox Campello. |
SEC. 7072. (a) Of the funds appropriated under titles 8 I and III of this Act, not less than $44,600,000 shall be made available for programs to promote Internet freedom globally: Provided, That such programs shall be prioritized for countries whose governments restrict freedom of expression on the Internet, and that are important to the national interests of the United States: Provided further, That funds made available pursuant to this section shall be matched, to the maximum extent practicable, by sources other than the United States Government, including from the private sector.Thus, we ask Senator Leahy:
“If you’re going to do a covert operation like this for regime change, assuming it ever makes any sense, it’s not something that should be done through USAID."Really, Senator?
Funds made available pursuant to subsection (a) shall be—made available to the Bureau of Democracy, Human Rights, and Labor, Department of State and the United States Agency for International Development (USAID) for programs to implement the May 2011, International Strategy for Cyberspace and the comprehensive strategy to promote Internet freedom and access to information in Iran, as required by section 414 of Public Law 112–158.Senator Leahy should be commended for his global commitment and leadership on Internet freedom. However, Senator, be consistent -- for Cubans are no less deserving of these freedoms.
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| "Suddenly, She Wasn't Afraid Any Longer" Charcoal and Conte on Provided Clay Vessel 2014 by F. Lennox Campello |
Alchemical Vessels brings together 125 local artists and 20 invited curators for a community dialogue on healing and transformation through the arts. Each artist will transform a simple ceramic bowl by means of his or her own personal aesthetic and medium, drawing inspiration from the bowl as a place of holding, open community, sacred space, and even the alchemical vessel. The show is an amazing grouping of Who's Who in the DMV art scene.
The ceramic bowl was selected as the fundamental element of the exhibition to symbolize creating a space where healing can take place—an idea at the heart of Smith Center's work and mission. Metaphorically speaking, Smith Center—the space and the work we do within our walls—resembles an alchemical vessel. People bring their everyday burdens, fears, and pains to us, and in this place of holding, we help transform those toxic elements into hope, light, wisdom and strength.
Derek Mason has been the new head football coach at Vanderbilt University for just a few months. For over a generation one off-campus tradition has been to paint a mural of the head coach on the side of a local business. Generally this occurs without controversy. Until, that is, the local chapter of the Vanderbilt NAACP took issue with the painting and started a petition to have it changed. The issue?Read about the issue here. Personally, I think that the Vanderbilt NAACP should take a chill pill - In my visual opinion, this is not the case of the artist (Michael Cooper) wanting to portray Mason as in the "era in which black people's skin was darkened and their lips were made whiter in order to exaggerate their race in order to put them in a sharp contrast with the white race."
A few weeks ago, we were sitting around the office arguing over this simple question: Who had richer parents, journalists or people working in finance? Doctors or artists? More generally: What's the link between household income during childhood and job choice during adulthood?Read this fascinating piece by Quoctrung Bui here.
After some poking around, we figured out how to settle the argument. A government survey has tracked more than 12,000 people for decades. It allowed us to look at the same group of people in 1979 and 2010 — from a time when most were teenagers to the time when they were middle-aged and, for the most part, gainfully employed.
We crunched the data a few ways. First, here's a table that answers our basic question. It links peoples' jobs as adults in 2010 to their parents' income when they were kids in 1979.
New York City April 3-6, 2014 with
A fun four-day event hosting 78 galleries and a huge array of contemporary art, the spring edition of the Affordable Art Fair New York City will take place from April 2-6 at The Metropolitan Pavilion in Chelsea.
Private View on April 2
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| Georgia Nassikas "Lift" |
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| Channeling Jackson Pollock: Rock, Paper, Scissors Oil on 8-ply Paper. 27 x 58 inches. By F. Lennox Campello |
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| "Suddenly, She Wasn't Afraid Any Longer" Charcoal and Conte on Provided Clay Vessel 2014 by F. Lennox Campello |
Alchemical Vessels brings together 125 local artists and 20 invited curators for a community dialogue on healing and transformation through the arts. Each artist will transform a simple ceramic bowl by means of his or her own personal aesthetic and medium, drawing inspiration from the bowl as a place of holding, open community, sacred space, and even the alchemical vessel. The show is an amazing grouping of Who's Who in the DMV art scene.
The ceramic bowl was selected as the fundamental element of the exhibition to symbolize creating a space where healing can take place—an idea at the heart of Smith Center's work and mission. Metaphorically speaking, Smith Center—the space and the work we do within our walls—resembles an alchemical vessel. People bring their everyday burdens, fears, and pains to us, and in this place of holding, we help transform those toxic elements into hope, light, wisdom and strength.
An increasing number of print-on-demand sites, such as Zazzle and Café Press, are popping up on the Internet. Users can create customizable products featuring their own photos or other graphic designs. Unfortunately, there is very little stopping some of these users from creating products with stolen copyrighted designs and other art, with the copyright holder never even knowing that their work is being infringed. While these sites don’t condone copyright infringement, the business model does benefit from infringing material without much risk of being sued.Read about it here.
Chawky Frenn is a great activist in many realms. He is dedicated to teaching new artists at George Mason University in Fairfax, Virginia; produces books on the fine arts of the unde rappreciated city of Boston, with which he has close ties; and is an active figurative painter whose work focuses on bold topics such as the human condition and governmental issues.Read it here.
In June of 2012, the Henie Onstad Kunstsenter (HOK) was contacted by the heirs of Paul Rosenberg. The heirs presented documentation demonstrating that Henri Matisse’s painting Profil bleu devant la cheminée (Woman in Blue in Front of a Fireplace) dated 1937, was unlawfully dispossessed as a result of Nazi persecution from the famed French gallery owner and collector. Although Mr Rosenberg was able to flee to New York with his family in 1940, artworks belonging to him were confiscated by the special Nazi looting agency known as the Einsatzstab Reichsleiter Rosenberg (ERR). This painting was one of 162 works looted on September 5, 1941, and was therefore subject to an active claim of restitution by the Rosenberg heirs.
In 1942, the painting was used in trade by agents for Nazi Reichsmarschall Hermann Goering, and subsequently acquired by Gustav Rochlitz, an art dealer active in Paris who was convicted in 1947 before a French Tribunal for trading illicitly acquired property during the Nazi occupation.
The painting was acquired by Niels Onstad from Galerie Henri Bénézit in Paris around 1950 and it has been a part of HOK’s collection since 1961. From 1946-1960, Paul Rosenberg and his heirs made numerous declarations in search of the painting to no avail. None of these reached Mr Onstad nor HOK. Prior to including the painting in the HOK Collection in 1960, Niels Onstad requested detailed provenance information, but did not discover the Rosenberg claim. Since then, the "provenance Paul Rosenberg Collection" has followed the painting in catalogues and numerous exhibitions all over the world. The knowledge of the whereabouts of the painting did not reach the heirs of Paul Rosenberg.
Although it is HOK’s unwavering position that both Niels Onstad, and subsequently HOK, acquired the painting in good faith, HOK has chosen to adhere to international conventions and return the painting to Rosenberg’s heirs, a decision for which the heirs express their deep appreciation.
“Henie Onstad Kunstsenter’s extensive investigation of the case has led to the decision that the return is justified, and HOK’s board has decided to return the painting without further conditions” says Halvor Stenstadvold, chairman of the board of HOK.
“This painting has been in our collection since HOK was founded; it is a key work, important for both HOK and its patrons. The comprehensive investigations have been exhaustive and HOK has taken the time necessary to examine all available facts in the case. The case may serve as a precedent for similar cases in the future. Our knowledge of archives and resources regarding provenance research will be made available to the public through a variety of exhibitions, seminars and publications during 2015” says Tone Hansen, HOK’s director.
Research was conducted by the HOK and the Rosenberg heirs in French and American archives, and HOK has collaborated with a number of museums, institutions and experts in France. The investigations confirmed that the painting was stolen from Paul Rosenberg as a result of Nazi persecution.
Christopher A. Marinello, a lawyer specializing in the restitution of cultural property, who handled the negotiations for the Rosenberg family, commented:
“This case illustrates the importance of Museums and cultural institutions undertaking comprehensive reviews of their collections in accordance with the Washington Conference Principles. The HOK is to be commended for their methodological approach in reviewing the provenance documentation we presented as well as the legal issues involved. Ultimately, it was the strength of the moral claim that persuaded the HOK to restitute this painting unconditionally to the Rosenberg heirs. We are grateful to our researchers in France and the United States whose expertise and assistance in this matter were invaluable.”
The case is the first of its kind in Norway, and while all such cases must be treated individually, HOK’s resolution will most likely impact other Norwegian institutions. HOK’s evaluations have thus been methodical, exhaustive, and under the guidance of the Ministry of Culture. It has been a demanding process for a single institution to undertake, and as a result HOK has called for the formation of a national committee. This committee would be charged with examining public collections and will be modeled after similar programs undertaken in the Netherlands, Germany and France.
Norway was one of the signatories of the Washington Conference Principles on Nazi- Confiscated Art in 1998 along with 43 other countries. HOK is a member of the International Council of Museums (ICOM) whose Code of Ethics were considered in conjunction with the Washington Conference Principles.
This restitution signifies the resolution of one claim for the Rosenberg heirs, but as for many families affected by Nazi-era looting, the challenging search continues for numerous spoliated works yet to be recovered.
The exhibition, produced by her husband, F. Steven Kijek, explores for the first time Cleary’s use of photography in creating her paintings and works on paper. Within the arc of these works one can follow Cleary’s observation and exploration of composition, shadow and light in her photographs and her final works. Cleary, who passed away in 2011, was an acclaimed artist and was heavily involved in the DC arts scene for several decades.
The exhibition runs from April 4 to April 26, with an opening reception on Friday, April 4 from 6 pm to 9 pm in the Arts Club of Washington’s galleries located at 2017 “I” Street, NW, Washington, D.C. Dr. Jack Rasmussen, director and curator of the American University Museum at the Katzen Arts Center, is the guest curator for the exhibition.
This exhibition is the first to focus on the artist’s use of photographic studies and provides fresh insight into Cleary’s creative process. The show presents works from the Estate of Manon Cleary, as well as a few private collectors, including selections from Cleary’s Mystery Series, Breathless Series, and graphite drawings, all to be displayed beside her photographic studies.
Cleary explained that she worked primarily from photographs, stating that she used “graphite or oils to produce works that are photographically convincing but not necessarily with fidelity to my photo sources. I would like the viewer to notice the unique interpretation – the “me”- I bring to my work.” Cleary wrote in the early 1980s, “abstraction of forms successfully freed me from reliance on photo images, with results being photographically convincing, but not photographically accurate.”
The Arts Club of Washington will host additional events open to the public to further explore the art of Manon Cleary. A symposium, “Between Painting and Photography: The Vision of Manon Cleary,” will be held on April 9 from 6:30 pm to 8:30 pm. Panelists will include Susan Hauptman, whose drawings are in numerous museum collections including those of the National Portrait Gallery, the Metropolitan Museum of Art, and the Corcoran Gallery, Judy Greenberg, director of the Kreeger Museum, Jared Miller, a former student of Cleary’s, Jack Rasmussen, director and curator of the American University Museum at the Katzen Art Center, Eric Denker, senior lecturer at the National Gallery of Art, and Erich Keel, former head of education at the Kreeger Museum.
A catalog produced for this exhibition features an essay by Stephen May, a frequent contributor to Art News and other publications. In addition, F. Steven Kijek will present an illustrated lecture on Manon Cleary’s life and art on April 22 from 6:30 pm to 8:30 pm. The Arts Club invites the academic community to use the exhibition for its fine art and art history students and plans additional opportunities for use by professors and students.
Read it here.Code enforcement officers in Colorado are agreeing with neighbors who say several toilets hanging from a tree in a community near Colorado Springs are not art.
Hi,I created a petition to Dr. Theodore E Stebbins, Curator American Art, which says:"Ask Dr. Theodore E Stebbins of the Harvard Fogg Museum to allow two of America’s most important masterpieces forensically authenticated to the catalogue raisonne for Martin Johnson Heade."Will you sign this petition? Click here:
Thanks!Victor
Read the whole article in the Art Law Journal here.As a general rule, when an artistic or literary work is created, the author is the one that holds the copyright. Nobody can copy, distribute, or display the work without the author’s permission. When an painting is sold, the buyer owns the painting itself, but does not have the right to use that image for anything else other than to hang it. But what happens if the artist was hired specifically to create that painting for the cover of an upcoming novel? In some cases, the copyright is owned by the buyer, but only under very specific conditions.For the hiring party to own a copyright on a the specially ordered or freelance work, there must be:
"That's largely because one key element in the New York School creation myth is now officially dead. Despite claims made and repeated for decades, Pollock did not paint the epic canvas in one great, glorious burst of nonstop creative fervor.Instead, a painting revered as a turning point, both for the artist and the history of Modern American art, evolved over many days and perhaps even several weeks."
From:Martin George (martinhhhgeorge@yahoo.co.uk)
Hello,
I am Mr Martin George,a British oil Engineer. I am interested in buying a wedding gift for my lovely daughter as a gift present on her wedding day. Kindly provide me with a catalogue and quotes of the available artworks and gift products in your art gallery at the moment,please let me know:
Your FOB Prices and FOB Port.
Your estimated delivery time.
Best Regards,
Martin George.
The (e)merge art fair connects emerging-art professionals from around the globe with collectors, curators and cultural decision makers in Washington, DC. The relaxed environment of (e)merge creates a focused, authentic art experience for a new generation of art consumers in the capital region.ONLINE APPLICATIONS ARE NOW BEING ACCEPTED from GALLERIES and ARTISTS. deadline: May 30, 2014.“It doesn't take more than a couple of hours to stroll through compact fairs like Liste in Basel, Independent in New York, Untitled in Miami Beach or (e)merge in Washington, DC, and each has enjoyed increasing cachet in recent years.”Metropolitan Washington DC is home to one of the nation’s wealthiest, youngest and most highly educated populations according to recent reports from Forbes, The Economist and The Washington Post. (e)merge delivers inside access to this rapidly expanding cultural market.- Kelly Crow, “An Art-Fair Survival Guide” - The Wall Street Journal, March 6, 2014
In 2013, 80 exhibitors, including Present Company, Brooklyn, NY; NOMAD Gallery, Brussels; and Cynthia Corbett Gallery, London, [and Alida Anderson Art Projects, DMV] presented rising talent from all over the world at (e)merge. More than 5,500 art supporters engaged with painting, sculpture, digital media, performance and installation work by 150 artists from 30 countries in the fair’s Gallery and Artist Platforms. (e)merge’s exhibition program inspires a new echelon of art collectors and offers curatorial access to the latest movements in emerging art.“Because (e)merge is committed to helping gallerists meet the challenges of today’s art market, we have expanded our Gallery Platform with new pricing and format options, offering exhibition spaces on the first three floors of the hotel, including second-floor guest rooms, main-level booths, and spaces in the garage.”The (e)merge Artist Platform presents a vetted selection of works by independent artists displayed throughout the hotel’s public areas. (e)merge is the only art fair that gives free exhibition space to artists without gallery representation. The 2014 (e)merge Vetting Committee members are: AI WEIWEI, artist, Beijing; MIKA YOSHITAKE, assistant curator, Hirshhorn Museum and Sculpture Garden, Washington, DC; and JEFFREEN M HAYES, director, Rebuild Foundation, Chicago, St. Louis & Omaha.
- Jamie Smith, Director, (e)merge art fair
The 2014 (e)merge Advisory Committee members are: Petra Leene, director, Amstel Gallery, Amsterdam; Amy Raehse, director, Goya Contemporary, Baltimore; José Ruiz, artist/curator, Present Company, Brooklyn; and Yvonne Force Villareal, co-founder, Art Production Fund, New York.
The Phillips Collection, Washington, DC, will present the second annual The Phillips Collection Emerging Artist Prize at the 2014 edition of (e)merge. Museum Director Dorothy Kosinski and Curators Klaus Ottmann and Vesela Sretenović will select the winner from works on display at the (e)merge art fair. The Phillips Collection Emerging Artist Prize is made possible by the generous support of Hank and Carol Brown Goldberg.
Rosemary Feit Covey is without a doubt one of the foremost artistic minds of the region and in my opinion the top printmaker in the nation.
