From: Donald Hugh donald.hugh247@gmail.com
Hello,I am interested in your art work, would you please get back to mesome photos, sizes and price, or link of the art work you haveavailable for sale.
Thank you
The case eventually landed at the Ninth Circuit of the U.S. Appeals Court, where it was once again struck down on Friday, effectively ending the fight for artists’ resale royalties.Read it and weep here.
Artemisia Gentileschi’s Self Portrait as Saint Catherine of Alexandria (1615-17) has become the first artwork by a female artist to the permanent collection of the National Gallery in London in 27 years. The work is only the 21st painting made by a female artist to enter the institution’s permanent collection; less than one percent of the National Gallery’s 2,300 artworks were made by a female artist.Read it here.
Read the whole article here.Los Angeles is getting a new art fair, started by collector Dean Valentine, which will run during Frieze L.A.This February marks the first edition of Frieze Los Angeles, the London-based fair juggernaut’s attempt to turn the world’s entertainment capital into a new stop-off on the global art market circuit. And now it will have a new satellite fair to help create an enticing critical mass for collectors: Felix LA, a quirky, 35-gallery expo that will be held in the Hollywood Roosevelt Hotel, the refurbished 1920s deco hotel on Hollywood Boulevard. Felix LA is spearheaded by television executive and art collector Dean Valentine. It will open February 13, the day before the public opening of Frieze’s L.A. fair, which will be held at Paramount Studios—just a 12-minute Uber away from the Roosevelt (well, unless you get stuck in that notorious L.A. traffic).
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| Kirsty Little, Refuse?REFUSE, Americans use 35,000,000,000 (35 billion) plastic bottles each year |
While investigating the plastic pollution in our oceans, Kirsty Little kept coming up against numbers that she could not comprehend. Americans use 35,000,000,000 (35 billion) plastic bottles each year.
Trillions of micro plastics virtually invisible to the human eye are being eaten by plankton and working their way up the seafood chain to our plates. We have barely reduced our plastic footprint since plastic production began 50 years ago. Only 9 to 25% goes into recycling. The rest ends up in our oceans and landfills.
Kirsty Little’s installation in the 355 Pod Space located on Route 355 near Rockville Town Square is one of the ways that she is working to raise consciousness about plastic pollution. She wants people to think about how many plastic items they use once and then discard. She wants to sensitize people to the costs of careless consumption and disposal of plastic.
To make this installation possible, Little worked with over one hundred people who collected plastic lids and caps from their households and helped her construct individual numbers overflowing with plastic. Once people started collecting plastic, they began to see it everywhere in their daily lives.
The plastic used in this project filled every room in Little’s house. This is a tiny personal portion of the plastic garbage generated every second all over the world. About the artist: Kirsty Little is a former circus aerialist based in the United Kingdom for two decades when a move to United States in 2011 led her to find a new path in the art world and change her style of performance. She is drawn to working with themes of motherhood, personal identity, anatomy and the struggling environment. She makes sculpture with porcelain, wood and wire, and more recently, plastic and fish installation, focusing on the oceans present pollution crisis.
She is resident artist at Otis St studios and teaches aerial dance at Upspring studios. She is in the Guinness book of World Records for directing the most aerialists choreographed on silks. Recently she performed at The Theatre Project in Baltimore in aerial collaboration with Jayne Bernasconi.
Her sculptural installation, ‘Refuse?REFUSE, 1T’ has been on display at Red Dirt Studio, Harmony Hall, and next at Up Studio. She has taken this work into her daughter’s school, galvanizing the students to collect lids and make ‘500 Million’.Opening reception and artist talk: Friday, July 13, 7 – 9 PM.
From: james frank - jamesfrankofficial@gmail.comSubject: Piece Suggestion for my 20th AnniversaryMy Name is Frank James from Washington DC. I have been on the lookout for some artworks lately in regards to I and my wife's anniversary which is just around the corner. I stormed on some of your works which i found quite impressive and intriguing. I must admit your doing quite an impressive job. You are undoubtedly good at what you do.With that being said, I would like to purchase some of your works as a surprise gift to my wife in honor of our upcoming wedding anniversary. It would be of help if you could send some pictures of your piece of works, with their respective prices and sizes, which are ready for immediate (or close to immediate) sales. My budget for this is within the price range of $500 to $5000.I look forward to reading from you in a view to knowing more about your pieces of inventory. As a matter of importance, I would also like to know if you accept check as a means of payment.Regards,Frank
However, the artist who made the Vegas sculpture, Robert S. Davidson, did not love the USPS using an image of his work without obtaining permission and sued for copyright infringement in 2017. Last Friday, Davidson emerged victorious from the suit and will now receive $3.5 million, plus interest, as compensation.
Rights in Materials Submitted
All exhibitors forfeit the right of reproduction of their work to the _____________. The ____________ reserves the right, and all exhibitors grant the ______________ the right, at the discretion of the ___________, to use all works of design or art, and any related materials provided to the _____________ by any exhibitor, for its own business, promotional, and archival purposes.
At 6:22 on Sunday morning Oct. 23, 1983, a 19-ton yellow Mercedes stake-bed truck entered a public parking lot at the heart of Beirut International Airport. The lot was adjacent to the headquarters of the U.S. 8th Marine Regiment’s 1st Battalion, where some 350 American soldiers lay asleep in a four-story concrete aviation administration building that had been successively occupied by various combatants in the ongoing Lebanese Civil War. Battalion Landing Team 1/8 was the ground element of the 1,800-man 24th Marine Amphibious Unit (MAU), which had deployed to Lebanon a year earlier as part of a multinational peacekeeping force also comprising French, Italian and British troops. Its mission was to facilitate the withdrawal of foreign fighters from Lebanon and help restore the sovereignty of its government at a time when sectarian violence had riven the Mediterranean nation.
... Marine sentries initially paid little attention to the Mercedes truck. Heavy vehicles were a common sight at the airport, and in fact the BLT was expecting one that day with a water delivery. The truck circled the parking lot, then picked up speed as it traveled parallel to a line of concertina wire protecting the south end of the Marine compound. Suddenly, the vehicle veered left, plowed through the 5-foot-high wire barrier and rumbled between two guard posts.
By then it was obvious the driver of the truck—a bearded man with black hair—had hostile intentions, but there was no way to stop him. The Marines were operating under peacetime rules of engagement, and their weapons were not loaded. Lance Corporal Eddie DiFranco, manning the sentry post on the driver’s side of the truck, soon guessed the driver’s horrifying purpose. “He looked right at me…smiled, that’s it,” DiFranco later recalled. “Soon as I saw [the truck] over here, I knew what was going to happen.” By the time he managed to slap a magazine into his M16 and chamber a round, the truck had roared through an open vehicle gate, rumbled past a long steel pipe barrier, threaded between two other pipes and was closing on the BLT barracks.
Sergeant of the guard Stephen Russell was alone at his sandbag-and-plywood post at the front of the building but facing inside. Hearing a revving engine, he turned to see the Mercedes truck barreling straight toward him. He instinctively bolted through the lobby toward the building’s rear entrance, repeatedly yelling, “Hit the deck! Hit the deck!” It was futile gesture, given that nearly everyone was still asleep. As Russell dashed out the rear entrance, he looked over his shoulder and saw the truck slam through his post, smash through the entrance and come to a halt in the midst of the lobby. After an ominous pause of a second or two, the truck erupted in a massive explosion—so powerful that it lifted the building in the air, shearing off its steel-reinforced concrete support columns (each 15 feet in circumference) and collapsing the structure. Crushed to death within the resulting mountain of rubble were 241 U.S. military personnel—220 Marines, 18 Navy sailors and three Army soldiers. More than 100 others were injured. It was worst single-day death toll for the Marines since the World War II Battle of Iwo Jima.Aboard USS Virginia, the ship's crew went into action, and within minutes our helo was airborne, carrying our ship's doctor and his Navy corpsmen to help with the wounded Marines. Minutes later the helo came back, looking for people and equipment to help assist with digging out the people from the collapsed building. Because my division was the only one that had an Arabic linguist, they came to us to see if he (Sgt. Bobby Jack Irvin, an amazing linguist and as far as I know the only Marine ever to qualify for the Enlisted Surface Warfare pin) could go ashore to help facilitate our doctor's mission, as he had radio'd that several Lebanese doctors had already come up to help him, and he might need language help.
Frida, your personal possessions have been exported to London from the house you lived in most of your life, Casa Azul (the Blue House), which is now a museum in the Coyoacán area of Mexico City. Do they shine a light on how you constructed your multiple identities?Read the article here.
Jack Rasmussen, director and curator of the American University Museum at the Katzen Arts Center, has been named chair of the Maryland State Arts Council (MSAC). In this role, he will drive the strategic direction of MSAC programs and funding for the state of Maryland.Now... that great news! Jack Rasmussen essentially carried the DMV artists singularly unique and only presence in the DMV museum art scene.
Read the whole article here.In the studio, you are the boss—there is no answering to anyone else. Your time is your own, and you get to decide how to spend it. How refreshing, right?It’s one reason why so many choose to go down the creative path!And yet, with great freedom comes great responsibility. Having such flexibility on your own can prove difficult for artists to adjust. Sometimes the work just doesn’t get done. The problem is, between making new work, marketing, selling, applying to calls, managing contacts, showing, inventorying, and staying organized, there’s a TON that needs to get done—and, you’re the only one responsible for it.This freedom has now turned into a major thorn in your side, especially if you’re relying on your art to make a living.So, what is an artist to do? How are you supposed to stay motivated and get all your to-dos accomplished when you’re the only one in the room? Especially when it’s so easy (and fun) to procrastinate.We’ll let you in on a secret: it gets easier with a little practice. Follow these nine tips to help you stay productive as an art boss on your own.
The world is changing. As such, we put forth constant effort to synthesize the digital and organic in day-to-day life, seeking meaning, seeking connection, seeking answers. The means by which we search can take many forms. In spirituality, a prayer; on a date, a question; on the web, a google search; on a computer, CMD + F. This exhibition presents three new media artists who examine the means by which we seek to know more about ourselves, what is here, and what is beyond.
Rachel Schmidt’s “Tension” provides the viewer with an exercise in perception, compelled to use our senses of sight and sound to navigate an experience meant to portray the artist’s own during a residency at the Taipei Artist Village in Taipei, Taiwan. The viewer encounters a video depicting various environments from Schmidt’s time in Taipei scored with a juxtaposition of natural and industrial sounds, as a field of ice-like illuminated floor structures call attention to the physicality of the space.
Tommy Bobo shifts his focus from video to light-play, composing nuanced wall-scapes of projected light and materials that disrupt and refract it. The light becomes sculptural, compelling the viewer to reexamine existing notions of the medium. James Huckenpahler merges classic photographic portraiture from the Brady-Handy collection of American Civil War era society portraits with a cache of images stored on his own computer. The result is an eerie pop-futurist fusion of human portraits and tech-distortion.
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| Ira Tattelman's Screen |
Belinda claims that her father’s attempt to halt the painting’s sale, two weeks ahead of the auction, caused the lower-than-expected result.Read the whole story here.
Chicago’s Shane Campbell filed a lawsuit against Frieze Events on Friday, the New York Times first reported, alleging negligence on the fair’s part in not adequately preparing for record-high temperatures that the gallery says contributed to significant losses in sales by exhibitors. The lawsuit, jointly names Shane Campbell and Julie Campbell as plaintiffs who hope it will be granted class action status; they are currently requesting $15 million plus damages.Read the story here.
The works were full of striking, scrupulous detail. On Jerome’s arm, for example, dozens of faint horizontal cracks have appeared; every so often, a clean, vertical split intersects them. In French canvases from the 18th century, cracks in paint tend to develop like spider webs; in Flemish panels, like tree bark. In Italian paintings of the Renaissance, the patterns resemble rows of untidy brickwork. On the Saint Jerome, the cracks match perfectly.Fascinating article here.
