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| Jacob Kainen, High Noon II, 1980, oil on linen, 24" x 30" |
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| Romare Bearden, Woman and Egret, 1975, collage and acrylic on board, 11 3/4" x 16" |
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| Amazon Lady in Red Chair by Marcie-Wolf-Hubbard |
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| Frida Kahlo: Picasso Style Oil on Board, c. 1980 F. Lennox Campello |
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| Frida in a Cross of Clouds Charcoal, Conte and Unfired Bisque, c. 1980-2017, 7x7x2.25 inches F. Lennox Campello |
"Hello,
Am Anthony Petrello from California. I actually observed my wife has been viewing your website on my laptop and i guess she likes your piece of work. I'm also impressed and amazed to have seen your various works too, You are doing a great job. I would like to purchase one of your Collections Labyrinth Sculpture, 16.5 H x 32 W x 1.5, as a surprise to my wife on our anniversary. Also, let me know if you accept check as mode of Payment.
Thanks."
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| "Picasso" by F. Lennox Campello Limited edition stone lithograph, c. 1980. 5x5 inches. Done as an assignment at Univ. of Washington School of Art. |
An artist bio is often the first piece of information available to readers and collectors, and as such it offers you a chance to frame their practice and give collectors a reason to want to learn more. Bios also drive search engine optimization (SEO). When returning search results, Google and other search engines privilege written content that is “sticky” (i.e. readers spend time on the page and continue browsing), so providing an engaging, well-written bio is a great way to increase discoverability for your artists.Read the rest of the piece by Jessica Backus here.
These are the three cornerstones—tried, tested, and used today by our writers at Artsy—of the perfect artist bio:
Washington Glass School is excited to announce the hiring of a new full-time glass studio manager. Warm Glass Studio CoordinatorWGS seeks a creative and energetic manager and teacher for a kiln cast glass studio in Mt. Rainier, Md. right outside Washington, DC. Washington Glass School is a private art studio which focuses on warm glass and mixed media sculpture.The glass studio has several missions:1) Engaging the surrounding metro area with large scale community involved public art works.2) Teaching kiln casting classes and others that support our sculptural mission.3) Production work for several artists who are based here, including acrylic /resin casting and mold making. Candidate cannot be allergic to these.The Glass Studio Manager will be responsible for communicating with all of these audiences and ensuring that the studio is serving their needs.We are looking for someone who is equally excited about glass education, mold making, acrylic casting, glassmaking, and managing and promoting the studio. The Glass Studio Manager should be self-starter who can independently manage studio activities, as well as collaborate closely with WGS’s staff on an overall strategic vision for the organization and its execution in the glass studio.Responsibilities:• Serve as a public face for WGS: act as primary liaison for renters, answer calls and emails about studio, interact with visitors, and attend events on behalf of WGS• Oversee all activities in the glass studio, including managing studio calendar, scheduling and working with renters, designing and managing classes and demos.• Manage and assist several artists principles with their work• Travel to international art fairs to represent WGS artists, with duties including show set-up, sales, packing, shipping, and take down• Manage studio inventory and purchase materials and tools as needed• Help oversee and fabricate large scale public art pieces, including community involvement workshops• Attend weekly staff meetings and monthly teaching artist meetingsQualifications:• BA or BFA with a concentration in glass or life experience equivalent* Experience managing a glass studio would be helpful• Understanding of a range of kiln making processes.• Good written and oral communications skills; ability to interact with all of the audiences at WGS. Intelligence is better than brawn!• Ability to work as a part of a team while working independently on projects to meet multiple deadlines* Candidate should very much want to further their own art career and would benefit from their time here.* Metal welding, acrylic casting and electronic wiring background would be helpful, but candidate can be trained in this.* Speed is of the essence here on projects. Speed, staying on task and attention to detail are paramount. Hopefully someone who will treat each work as their own for quality control.The Glass Studio Manager is a 35/40-hour/week position, including some evening and weekend events. Salary is commensurate with experience. It includes both an hourly salary and teaching bonuses. This is an extremely busy studio. Much of our work goes straight from here to galleries and museums.As tough as this job can be, there are rewards as well. Benefits include health insurance and kiln time at WGS as well as use of all equipment and a dedicated work area for your own art. Access to all equipment and materials at cost.WGS is an equal opportunity employer and does not discriminate based on race, color, religion, sex, national origin, age, disability or genetics.To apply, please submit a cover letter telling us why you might be a good fit, your resume, and images of past work to TimTateGlass@aol.com.
Also it is worth noting to the rest of you that the O has a bit of an axe to grind with me because when pressed by her on numerous occasions to visit her studio and to take a group show she had curated (that included her own work), I told her that I didn't really understand what she was up to in her work because it seemed to ape the work of others a-critically, and for that reason I didn't understand its value. So that is possibly what spurred her post. Who knows. I think it is important to be honest with each other so we don't waste each other's time.Like many other commenters on the Facebook comment thread, I took exception to Nesbett using that public forum to personally criticize the originator's artwork, and suggested that he should (a) apologize to Barbara Januszkiewicz and (b) use the opportunity presented by the hundreds of commenters to perhaps host a discussion forum on the issue and involve the artist members of the WPA in a constructive dialogue. I noted in the FB comments:
With all due respect, I am a somewhat disturbed that the director of an artists' driven organization takes an open forum to personally criticize the artwork of one of its members - who by the way, as the intense series of comments testify to, has asked a very valid and clearly "needed" question. That is, if one is to judge that by the passion of the comments and thoughts. But what bothers me is that were one to also mimic your viewpoint of "ape the work of others a-critically", then I'd challenge anyone with a simple understanding of art history to not "see" a dozen artists in any and every group show on the planet, any major art fair, and any WPA Gala, regurgitating the concepts and ideas of others who came before them, which in an era of postmodernism - where anything and everything is art - I thought was not an issue... In fact it is often refreshing, as when in this year's WPA Gala I see Chuck Close, Basquiat, Jerry Uelsmann, Goldsworthy, etc. being channeled into new work. It is clear to me that this question poses an opportunity for the WPA to host a panel/discussion on the subject, and it is also clear to me that you owe Barbara Januszkiewicz an apology for angling the discussion to a personal angle... Respectfully, Lenny Campello
[An arts promoter and a jewelry maker] approached a reporter with a press release, revealing that the exaggerated bidding was the scheme of 42 local art supporters, each of whom had ponied up $20 in an attempt to draw attention to their claim that the WPA and its auction have strayed from the original mission."In the past," the statement read, "The Washington Project for the Arts (WPA) seemed focused on promoting new art and artists not represented by galleries. The auction was an excellent way to showcase these new artists while engaging the public's participation. Unfortunately, we now see almost the same artists and collectors year after year."
In addition to the lack of new blood, the consortium also complained about the auction's steep new $125 admission price, which kept many of its members from participating.
"This is about inclusivity and emerging art. It's not about Erick Jackson or artificially inflating the price of his work," said [one of the organizers], who along with her husband... came up with the protest as a form of "conceptual art."
City Paper: Some artists in the Facebook community are upset about a critical exchange you had with Barbara Januszkiewicz, an artist in the area. You said that she had an "ax to grind with me" and that "I didn't really understand what she was up to in her work" in comments. Do you think you crossed a line?
Peter Nesbett: No, I don't. There are a few reasons.
I don't see why having an opinion about an artist's work is a problem. I know most arts professionals would keep opinions or comments like that to themselves. That is their right. But I prefer more candor.
I shared a series of exchanges [Barbara] and I had. She was rather aggressive with me over the course of six months about doing a studio visit with her, and showing her work, and I was very frank with her that I didn't understand how her work was anything but the aping of others' work from decades ago, with irony or critical conceit, and so I wasn't interested. She didn't like that. Still I don't want to set up up any false expectations—I want people to know where I stand so we don't waste each other's time.
The most outspoken people on the Dotted Line are people whom I have either declined studio visits with—I am not going to do them simply as a courtesy—or they are the spouse of a former employee who I let go. I think it is important that people recognize that the motive on there end stems from a place of personal disappointment.
Finally, have you noticed that nearly everyone who has been critical of the auction or WPA is older and white, and yet they claim to be speaking on behalf of the D.C. artist community? I actually don't think they represent the D.C. artist community today. At least not the communities I have been most involved with or interested in. Those communities are much more diverse.So instead of apologizing for his interpretation of what had caused the avalanche of comments on the WPA Auction issue, Nesbett doubled down on his perception of the reason for Barbara's posting and repeated his unwarranted negative critical response to her work.
1.Peter solicited and offered to meet with artists in the local community.
2.Barbara has stated that she contacted him with only one email inviting him to her studio. He declined and therefore never saw her work nor engaged in a personal conversation. There has been no proof of an aggressive solicitation as claimed.
3.An online question was posed regarding the auction and it was not directed at any party. It was intended as an invitation for artists to voice their concerns/opinions and to engage in community dialogue.
4.The intent of this forum was not intended to engage in personal attacks.
5.Age nor race was not an issue raised by the artists
6.Anyone who engages in the practice, procurement, sales, promotion, curatorial, purchase, review of art, etc. should be recognized as a valued member of the art community regardless of age, gender, race or sexual orientation.
7.Personal attacks and harsh public criticism of an artist’s work and value is unwarranted.
8.‘Aping’ the work of an artist in a city that paints its streets with stripes should not be an acceptable value judgment.
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| "Stranger In My Home" by Fred Zafran |
