The more things change...

The more they stay the same! The below was published four years ago... I'm still waiting to see some movement... any movement!

About a decade ago I co-curated for the Fraser Gallery a giant Cuban art exhibition which brought to DC many Cuban artists for the first time - it was called "De Aqui y de Alla" (From here and from there) --- see it here: http://www.thefrasergallery.com/artwork/Cuban-Show/Contemporary-Cuban-Art.html )" and it included many artists from Cuba as well as the Cuban Diaspora from around the world.

Olga Viso (who is of Cuban ancestry), at the time at the helm at the Hirshhorn came by the gallery to see the show... the head of the Hirshhorn! 

Subsequently I curated a touring art exhibition of contemporary Cuban artists that I put together which traveled to DC, Philadelphia, Norfolk and Miami (Titled "Aqui Estamos" or "Here We Are").

In both cases the work avoided any and all contact with "government approved artists" and zero contact with the brutal Cuban dictatorship, and in fact, had somewhat of a dissident focus.

Of related interest to the theme, a local collector here in Chevy Chase owns a significant collection of Korda photographs, including the vintage photo of Che Guevara (Guerrillero Heroico) that Korda kept in his studio as his personal image of Guevara. The owners of the planet's most reproduced image acquired it directly from the Korda family, and I believe there's a video of the event (done as a provenance)... there are 19 photos in the collection - they were recently exhibited at the Museum of Latin American Art in California and the Jordan Schnitzer Museum at the University of Oregon and also at the Museum of Latin American Art in California.

I've heard from major collectors of Cuban art, most of whom I know well, that Stephane Aquin, the new Chief Curator of the Hirshhorn Museum is in the process of curating an exhibition of Cuban art. He brings an excellent pedigree in the subject, as about a decade ago he was one of the curators of “¡Cuba! Art and History from 1868 to Today”, an exhibition at the Montreal Museum of Fine Arts. He selected Cuban work post 1959.

Which brings me to an interesting issue.

In the past decade, I have been part of multiple gift offers of work by blue chip Cuban artists to the Hirshhorn. In every single instance that I have been involved in, it has been declined. In every single instance, the declined work ended up in another major museum.

Work by Sandra Ramos (whose iconic work adorns the cover of Holly Block's bible of Cuban art, and that same iconic print is also in the collection of MoMA) has three times been offered as a gift to the Hirshhorn Museum by two separate collectors, and it was thrice declined. 

One Ramos ended up in the collection of the Miami Art Museum, one at the University of Virginia (which under the guidance of former curator Jill Hartz accumulated a superbly impressive collection of Cuban art), and one at Cornell University. 

It was because of that, that I welcomed the Hirshhorn's new library program to acquire supporting material by Latin American artists, and their blog post noted the inclusion of a catalog of Ramos' recent show in NYC.  Of course, her American gallery solo show debut was in the DMV over a decade ago (in 2004 also at the Fraser Gallery - see http://www.thefrasergallery.com/DC2004.html). I'm desperately searching my storage for supporting materials of that exhibition, as that widely reviewed show was her first solo in an American commercial art gallery.

That's a terrific new program that the museum has been funded to do -  according to the Hirshhorn, the funds will be used to catalog Latin American materials that are in their 9,000 volume cataloging backlog. So far, they've identified 500 books and catalogs in the Latin American category, and they have catalogued around 200 of those, and they have one more group of 100 to catalog once the Cataloging Department has found contract staff to implement the last grant. It's a gigantic job, but it seems to be in good hands.

Back to Cubans and the Hirshhorn.

To the Possible Limit, 1996 by Jose Bedia

According to the Hirshhorn's website search, Ana Mendieta, Wifredo Lam, Jose Bedia, Los Carpinteros, Emilio Sanchez, Felix Gonzalez-Torres, and J.F. Elso (and the five prints by the "five") are the only Cuban artists in the museum's collection and many of those were part of the original bequest, indicating to me (as far as I can tell from the website) that the museum has not acquired very many Cubans since they opened. I could be wrong, but that's what it looks like.

They did acquire this gorgeous Carmen Herrera in 2007. That was at least somewhat of a "discovery" as Herrera was not dubbed the "hot new thing in painting" by the New York Times until 2009.

That NYT piece was done when she was 94.

Herrera sold her very first painting... ever... in 2004, so the Hirshhorn jumped in early (2007), which colors my last paragraph in this post. Five gets you ten that the very gifted Olga Viso had something to do with that.

In addition to the declined Sandra Ramos (three separate gift offers) that I mentioned earlier, the Hirshhorn has in the past (since 1996 to around 2008, which is when I gave up and stopped working as a middle man to offer them gifts from collectors of Cuban art) declined gifts of works by Maria Magdalena Campos-Pons, Cirenaica Moreira, Elsa Mora, Belkys Ayon, K'Cho, Aimee Garcia Marrero, Deborah Nofret Marrero, Tania Bruguera, Carlos Alfonso (multiple pieces from his estate), Roberto Wong, Korda, Roberto Fabelo, Marta Maria Perez Bravo, and Carlos Garaicoa... I may be forgetting some.

Most of those ended up as gifts to other museums in the US (one ended up at the Tate in the UK)... it was curious to me the 100% decline rate, especially of some major works... this is the Ramos that ended up in the Miami Art Museum - it's the one titled "Ruinas de Utopia (Ruins of Utopia)" one of her key works dealing with the decline of Cuban life...  Another painting from that page was also offered (the one titled "Rescate" )- that one ended in the collection of Cornell University.

With Aquin at the helm, and his clear background in Cuban art, and with the funded interest in cataloguing peripheral material from Latin American artists, perhaps the Aquin and Hirshhorn will "discover" some other Cuban artists besides the "usual suspects," and perhaps the next time that an important gift by a blue chip Cuban artist is offered to the museum, it may find a home there.

No one has asked me, and I suspect that no one will, but if Aquin reached out to me for some recommendations, and since all the Cuban artists' names mentioned in this blog post so far should be well-known to him, I would recommend a look at DMV Cuban-American artist Ric Garcia.

Wouldn't it be great if the Hirshhorn's Cuban show included a local with a singularly unique set of artwork?

Just sayin'... time to "discover" rather than "re-do."

What to do and what not to do

If you're an artist:

• Do not hand out your own personal business cards at your opening and/or an art fair where your work is being exhibited. What you should do is work it out with the gallery, and if agreed, make your own personal business cards that list the gallery (and not you) as the contact point.
• Do not start a relationship with a gallery without a contract or written agreement.
• Do not vary your prices from dealer to dealer, or city to city, etc. What you should do is to have an established process (via contract/written agreement) where it details what discounts (if any) are offered in cases of multiple buys, museum sales, etc.
• Do not have "art sales." This hurts your established price points.
• Do not have prices in your website, instead force interested collectors into communicating with you or your gallery. Make sure that you note your gallery representation in your website.

If you are a gallerist:

• Do not operate on a handshake; always have a contract or written agreement.
• Do not hide the names/address of buyers. All that accomplishes is that it tells the artist: "I don't trust you."
• Don't work out price issues on the fly. Work out pricing issues ahead of time to ensure that you and your artists are all clear on all possible scenarios.
• Don't skip on art insurance.
• Don't take too long to pay your artists (period should be specified in your written agreement/contract (such as "Artist will be paid within ___ days from the time that the artwork payment clears").

If you are an art collector:

• Don't undercut the gallery by "skipping" them and going directly to the artist.
• Don't trust art dealers/artists who offer prodigious discounts on the artwork - nearly always that means that the prices were inflated to start with.
• Don't be afraid to ask if the artwork is done to conservation standards.
• Don't call a painting a "picture."

Anatomy of an art commission

It all started at the 2016 SOFA Art fair in Chicago, where my work was being shown by the hard-working Audrey Wilson, when (after the fair ended) a well-known Chicago area art consultant emailed me:

Hi,
I am an Art Consultant from the Chicago area. Saw your work at SOFA and would be interested in talking about a possible commission piece, for a client
What would be the best way to reach you?

I respond to her that I am very interested and that I am forwarding her email to the gallery which was showing me there, which is the right thing to do, so that the gallery can coordinate the possible commission.

Lesson One to artists: Do not screw your art dealer, who put up the sheckels to show your work at a fair, or a gallery show, and thus deserve a commission for the possible… ahhh… commission.

How much commission does the gallery take for a private commission of an art piece? This should be clearly stated in your contract between the artist and the gallery.

Lesson One point one: Make sure that you have a written contract with your gallery.

Emails later, I am dealing directly with the art consultant. She emails me an image of a drawing that she saw in SOFA and is looking to see if I’m interested in doing two very large versions of the drawing which are to be mirror images of each other.

Like a good art consultant, she then reminds me:

Please keep in mind when considering pricing that I do need to get a percentage of the sale  I will charge my client retail value but just like a gallery I take a percentage and that is negotiated with artist per piece. Just wanted to bring that to your attention.

Lesson two to artists: The industry standard in these cases is about a 20% commission to the consultant.

I then prepare a commission proposal for her:

Description: Two 36x66 inches original charcoal and conte drawings on pH-balanced, acid free paper, medium weight paper. The drawings will be mirror images of each other and as close as possible to the image depicted below. They will be shipped, unframed and rolled in a large tube. Work includes a Certificate of Authenticity and Provenance signed by the artist. Artist will also deliver all preparatory sketches. All artwork will be signed and dated in pencil recto on front and verso.  

Total artwork cost: $ USD 
Shipping (via FedEx): $75 
Commissions: 
* Gallery: 25% 
* Consultant: 25% 
* F. Lennox Campello: 50%

Approval: Work will commence once approval to proceed is given via email. Approval to proceed is understood to mean that both have parties agreed on size, composition, substrate, cost, and commissions. 

Payment: Artist is acting on good faith and requires no advance deposit. Full payment is due upon completion of the work (estimate is no later than December 25, 2016 provided that approval to proceed is given by December 5, 2016). Payment via check is preferred in order to save bank charges. Artwork will be shipped immediately after receipt of payment and clearance of payment by bank.

The proposal is briefed to her clients and accepted. I then send her a sketch of the commission as I understand it, but I have the orientation of the works wrong and it needs correction – at the end she sends me a rough sketch:

It matches my last proposal drawing, so we are set to go.

I get started on the first drawing, and as soon as it is done, I take a photo of it and email it to her so that she can see it immediately.

Lesson Three to artists: Keep communicating at all times so that there are no surprises.

I finish the second drawing, which is a friggin’ bear, since it has to be a mirror match for the first one, and because of the huge size of the paper, not easy to deal with… but then it is finished.

I send her an image of the second one, and all is good.

Then I ask for more data, and send her a note:

Question: I always sign the work both on the back and the front.... some people (as long as it is signed somewhere) prefer not to have a signature on the front of these minimalist pieces.... I'm OK with either... you may want to ask your clients if they want the front all clear (no siggie) or if it's OK if it is signed and dated on the front as well.

She asks, and they’re good with both signatures. Do you see the importance of good communications?

I am now ready to ship, but being the good Virgo that I am, I worry about her framer, so I take the time to draft and email her this:

I'm sure that you use a great framer who knows all of this ahead of time... but I'm sending this from the bottom of my heart and speaking from experience:

1. The drawings are on pH-balanced, acid free, cotton paper - please only use conservation materials in framing.

2. Drawings are signed both on front and back - if any trimming is needed, please be aware of signatures - space has been left to accommodate the desired final size. The paper needs to be trimmed for the correct width - trim from the edge opposite the leaping figure and from bottom as needed. The drawings have also been fingerprint-signed on the verso.

3. Because of the size of the paper, it needs to be relaxed before framing - this is done by unrolling paper from shipping box and laying on top of a table long enough to accommodate the length of the paper. Warning: If the paper rolls on too-short a table when opened, it can be damaged if it "bends" over the edge of the table - this may cause crescents on the paper - if this happens, they can be removed by dampening the back of the area where the crescent occurred and laying to dry on a table long enough to accommodate the paper. It is very important that the framer knows ahead of time that artwork should only be unrolled on a long table that can accommodate the length!

4. If clients require "float framing", recommend 1/4 white conservation spacers, but of course, whatever size they end up framing to, the drawing must not be allowed to touch the glass... use either spacers of 8-ply museum mat board.

Payment is ready to be processed, but speaking from experience, I advise her to call her credit card company and warn it that an online charge for the agreed amount is about to take place from the gallery. This saves time, as if a significant amount(as this is) shows up from a DMV source for a Chicago credit card, chances are that it won’t happen.

I then pack the work myself, ensuring than nothing short of a small nuke can damage the work. As soon as it is shipped, I email the tracking number to the consultant.

Next: What happens next!

It arrives - it gets installed All done! And here's what it looks like all installed...

First the original space:

And now with my two pieces added in - each is a mirror image of each other and flanking the windows:

More Bad Things Galleries do to Artists

This has happened to artists several times in my memories, both in the US and in Europe:

Artist and gallery owner agree to do a show of the artist's work. The gallery, like many all over the world, also has a side business as a framing shop, and tells the artist that they will take care of the framing.

The artist agrees on a handshake, and never asks for a contract, or costs, assuming that the gallerist knows what he is doing.

On opening night the artist shows up and is not too keen about the framing, but it's too late for any real discussions, as people are beginning to show up. Several pieces are sold, and the artist is very happy with the opening.

At the end of the show, the artist gets a letter in the mail from the gallery. Excited to see the payment for the sold work, the artist opens the envelope and finds a framing bill.

The bill details the cost of the framing, substracts from that amount the artist's commission from the sold work, and bills the artist for the remaining amount, as framing is very expensive.

Anger follows...

More bad things that (a) galleries do to artists or (b) artists do to galleries or (c) galleries do to collectors here, and here and here.

A bad thing that unethical galleries do to artists

The vast majority of independently owned, commercial fine arts galleries are ethical, hard-working labors of love, the second most-likely business to fail (in the US), and often run on a tight budget.

This is an example.

There are also unethical galleries gallerists who will take in a piece of artwork by an artist, and when the price is discussed, the gallerist asks: “What’s the price?” and the artist says: “$1000″ 

The gallerist nods OK and the artist leaves, knowing that if sold, he’ll get $500 (most galleries in the US charge 50% commission — in NYC some are as high as 70%).

The gallery then sells the piece, but for $2,000, sends the artist a check for $500 and pockets the extra $1,000. 

That is why artists should insist on having a contract with a gallery, and the contract must specifically address that the artist will get 50% of the actual sale price.

Bad things galleries do to art collectors...

Our area, like most major metropolitan areas, is peppered with stores that have the word "gallery" in their business name, but are very much far removed from what one would consider a true art gallery. 

You will always find them in high traffic areas; main thoroughfare streets where "real" galleries could never afford the rent. 

You also often find them in malls. I am speaking of the places that sell mass produced decorative works, either by Kinkade wannabes, Spanish-surnamed painters and worse still, the following scam: 

Some of Picasso's children inherited many of the plates used by Picasso to create his etchings. Since them, some of those plates have been printed ad nauseam by the current owners and are sold around the world as Picasso prints. 

And then, to make matters worse, some of the plates are signed "Picasso" by his offspring owner, who is (of course) technically also surnamed Picasso. 

The sales pitch, which is not technically illegal, but certainly unethical, goes something like this:"This is a real Picasso etching, printed from the original plate and it is signed." 

Note that they never state who signed the print. 

Hapless buyer purchases the print for a pretty good chunk of change, takes it home and brags to his friends about his signed Picasso. 

This will be a hell of a mess for the Antiques Road Show experts to detangle in a couple of hundred years.

 And don't even get me started on the great Dali art fraud.

Hatuey Webinar is on now!

 OK my art peeps! Need all my peeps to support Ric Garcia

Join me in an Artist Conversation with Ric Garcia

TONIGHT at 7:00 PM EDT.

In concert with the show "Hatuey: Rebel Chief" in the Maryland Milestones Heritage Center, artist Ric Garcia will discuss his process and the inspiration behind the show in conversation with The Lenster!

Click the link to register!

https://register.gotowebinar.com/register/1819548116407283727

My Dad in the 1940s

 

My father, Florencio Campello Alonso, somewhere in Guantanamo in the 1940s? 

Enjoying either a glass of wine or maybe a coffee... Check out those elegant shoes..... 

His nickname was "Ciclon."

More Bad Things Artists do to Galleries

This actually happened to a gallery in Georgetown, in Washington, DC in the 1990s:

Back when there were eight galleries in Canal Square, one of the galleries had given a show to a local -- at the time "hot" artist -- who was a painter (I say "was" because I haven't heard of the dude in years).

The artist was supposed to deliver and help hang all the paintings on a Wednesday, in order to be ready for the Georgetown third Friday openings. He did show up on Wednesday with about 50% of the work, and brought some more (freshly finished) on Thursday and to the gallerist's horror, even brought some more on Friday, and even as the show was opening at 6PM, was adding the last painting touches to several of the works.

Needless to say, several of the oils were actually wet when people starting showing up. On opening night, it was crowded, and someone apparently rubbed against one of the paintings and smeared some of the oil paint.

Now the gallerist was faced with a very irate person, demanding that his suit be cleaned (it eventually had to be replaced) and with a furious artist, demanding that the gallery pay him in full for the damaged painting.

If I am to believe the gallerist, the case actually went to court, where the judge threw it out.

A bad thing some artists to do galleries

A good reputable gallery is a work of love, with gallerists usually running the business by the skin of their teeth. 

And when a gallery gives an artist a show, they go through all the various multiple expenses associated with doing so (rent, electricity, staff salaries, publicity, ads, post cards, opening reception catering, etc.) - usually before a single work of art is sold. 

So far the gallery has put forth a considerable investment in presenting the artist’s works - all because the gallerist believes in the artist’s work. 

An interested novice collector meets the artist at the opening and expresses interest (to the artist) in buying some of his artwork. The artist, wishing to stiff the gallery for their commission says: “See me after the show and I’ll sell it to you directly and save myself the gallery commission.”

This is not only unethical, but it’s also guaranteed to ruin the artist’s reputation in the city, as these things always come out in the wash, and soon no gallery will exhibit any work by this artist. 

Remember, when a gallery gives an artist a show, and nothing sells, the artist still walks away with all his/her work, and maybe even a review, plus the art has been exposed to collectors and the public. 

The gallery gets to pay all the bills, even though no sales were made.

Gateway Open Studios

Gateway Open Studios is back, only this year their Open Studios is all virtual thanks to the Covidian Age,

Saturday August 22 between 11-am 5 pm, you can access the Virtual Open Studio Tour at www.gatewayopenstudios.org

Copyright for Artists in the time of COVID-19

 

Envision: Copyright for Artists in the time of COVID-19 Wednesday, August 26, 2-3PM During this time, many creatives have had to shift their practices, especially from in-person to online formats. These format changes have implications related to copyright law that are worth exploring to better protect your work or protect yourself from infringing on someone else's work. This workshop will go over copyright basics but touch on specific COVID copyright issues including protecting online courses, recordings, and streaming. Free!

Register here

Scam websites

Even the best of us get scammed! 

These are all scam websites - they all look legit, and even have Paypal payment options, run on secure servers, etc. They have dozens of mirror websites essentially selling the same things. Beware of them - I have reported them to the FTC, to their host servers, and plan to report them to the MD Attorney General. 

horgadis.com - which says it is located at 1303 Lighthouse Pl Spc 1303, Michigan City, IN 46360 - check out what's really there on Google Maps! According to WHOIS, the site has been active since March - probably cashing in like crazy! They have dozens of mirror sites with different URLs! Some of the mirror fake sites are takesprint.com, infaithwetrust.com and many others. The Paypal email associated with these in Paypal is payment.orientcircle.club@gmail.com

Same for www.susushj.co - They are scams! Email associated with that one is marshallmoorehamba383@gmail.com 

Also beware of this art scammer:

Subject: Mail order From: "Mary Boom" babaolomo07@gmail.com -- 

Hello Sir/ma Am Mary boom i will like to place an order from your store, and be making payment with credit card details. can i go ahead and send you the List of items Interested in Ordering . Thanks Mary Boom 

Developing Your Elevator Speech

 WSG PROGRAM: Developing Your Elevator Speech

Talking about art is important. Talking effectively within a socially accepted time frame is even more important. Very few us will be presented with unlimited attention that will allow us to frame what we do. Most say more than 30 seconds to place your work into context is about all you are ever going to get in most situations. Let’s face it, if you cannot distill your practice down to a couple of sentences, your work may have very little chance of resonating. No one can tell you what your work means, but, but without putting it into short statement, designed to entice further exploration, we take a real chance of not making the connections or building the audience that our work might deserve. This workshop will enable participants to hone their message into digestible descriptions that are versatile enough to adapt to different contexts, while focusing attention on artists’ practices in ways that respect the patience of listeners.    Register to Participate; meeting link provided upon registration.

Art Scam Alert!

 Beware of this mutant attempting to rip off artists:

Solomon woodson (solomonwoodson81@gmail.com)

Greetings... I am Solomon from Gadsden Alabama. 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 to some of your works which I found quite impressive and intriguing. I must admit you're 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 $1000 to $3500.

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 a check as a means of payment.

2020 Trawick Prize Finalists announced and Baltimore dominates!

Seven Baltimore artists and one DC artist have been selected as finalists for The Trawick Prize: Bethesda Contemporary Art Awards, a juried competition and exhibition produced by the Bethesda Arts & Entertainment District. More than 300 artists from Maryland, Virginia and Washington, D.C. submitted work to the 18th annual competition.

2020 Trawick Prize Finalists

• Erick Antonio Benitez, Baltimore, MD

• Cindy Cheng, Baltimore, MD

• Elliot Doughtie, Baltimore, MD

• Danni O’Brien, Baltimore, MD

• Nara Park, Washington, D.C.

• Ginevra Shay, Baltimore, MD

• Bria Sterling-Wilson, Baltimore, MD

• Daniel Wickerham & Malcolm Lomax, Baltimore, MD

The award winners will be announced on September 2, 2020. The Best in Show, first place winner will be awarded $10,000; second place will be honored with $2,000; third place will be awarded $1,000 and a Young Artist, a finalist who is younger than 30, could win $1,000.

The exhibit will be on display Sept. 4 – 26, 2020 at Gallery B, located at 7700 Wisconsin Avenue, Suite E. Gallery hours for the duration of the exhibit will be Friday-Saturday, 12 – 4pm. During operational hours, social distancing will be enforced and face masks must be worn by all visitors.

The 2020 Trawick Prize jurors are:

Larry Cook, 2017 Trawick Prize Winner; Assistant Professor of Photography, Howard University

Carrie Fucile, Professor of Digital Art & Design, Towson University

Noah Simblist, Associate Professor of Art and Chair of Painting & Printmaking; Virginia Commonwealth University.

Founded by the amazing Carol Trawick in 2003, the regional competition is one of the largest prizes to annually honor visual artists. Ms. Trawick, a longtime community activist in downtown Bethesda, also established the Bethesda Painting Awards in 2005. She has served as the Chair of the Bethesda Arts & Entertainment District, Bethesda Urban Partnership, Strathmore and the Maryland State Arts Council. She founded the Jim and Carol Trawick Foundation in 2007 to assist health and human services and arts non-profits in Montgomery County. The Foundation has awarded grants to more than 90 nonprofits in Montgomery County and funds the annual Trawick Prize and the Bethesda Painting Awards.

To date, The Trawick Prize has awarded more than $220,000 in prize monies and has exhibited the work of more than 135 regional artists. 

Previous Best in Show recipients include Richard Clever, 2003; David Page, 2004; Jiha Moon, 2005; James Rieck, 2006; Jo Smail, 2007; Maggie Michael, 2008; Rene Trevino, 2009; Sara Pomerance, 2010; Mia Feuer, 2011; Lillian Bayley Hoover, 2012; Gary Kachadourian, 2013; Neil Feather, 2014; Jonathan Monaghan, 2015; Lauren Adams, 2016; Larry Cook, 2017; Caroline Hatfield, 2018 and Oletha DeVane, 2019.

For more information, please visit www.bethesda.org or call 301-215-6660.

ARTOMATIC 2.0 IS OFFICIALLY OPEN

ARTOMATIC 2.0 IS OFFICIALLY OPEN!

They have nearly 300 visual artists registered at www.artomatic.org! Take a scroll online and consider purchasing art to support our artist community.

BUY ART!

Top 10 Craft Artists at Artomatic 2.0!!!

ARTOMATIC 2.0

https://www.jra.org/jra-news/top-10-in-craft-artomatic-20

TOP 10 IN CRAFT: ARTOMATIC 2.0The James Renwick Alliance jurors selected their top 10 best craft to see at Artomatic 2.0

Jurors :

- Interior designer and collector, Judy Weisman

- Artist and past Artomatic awardee, Rania Hassan

- Collector and past JRA president, Clemmer Montague

- Collectors Sandy and Norman Michell

- Collector, photographer and arts consultant, Leslie Lane

RHODA BAER

LAUREL LUKASZEWSKI

MICHAEL JANIS

JOHN LITTLETON AND KATE VOGEL

SUSAN LARSEN AND PATRICK COLLENTINE

ERWIN TIMMERS

SHARRON PARKER

BOB TROTMAN

HILLARY STEEL

JRA Artomatic Committee : Rebecca Ravenal, Chris Shea, Tim Tate

Upcoming ARTOMATIC 2.0 JRA events

__________________________

Wednesday, July 29^th @ 7pm

The History of Craft in Washington, DC

The JRA presents an online ZOOM discussion on the history of art and craft in Washington DC by some of the leading experts on the subject: Brett L. Abrams, Rebecca Cross, Jaimianne Jacobin and Jack Rasmussen.

Zoom link: https://us02web.zoom.us/j/87935799872?pwd=R0FHYTRjQzRzKzQ3QUpMRDlkOHArZz09

Meeting ID: 879 3579 9872
Password: JRAart2020

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Wednesday, August 5^th @ 7pm

What Makes a Piece of Craft Exceptional?

The JRA will moderate an online ZOOM panel conversation on how craft collectors decide what makes a piece of art exceptional enough to add to their collection. The Conversation will have artists Rebecca Ravenal, Chris Shea, and Tim Tate, arts collectors Jere Gibber and J.G. Harrington and Dr. Jeffrey Bernstein and Dr. Judy Chernoff. This event will be moderated by arts supporter Chris Rifkin. Chris currently serves on the board of The South Shore Art Center and the Fuller Craft Museum, and is a Founding Chair of CraftBoston, a juried biennial exhibition of well-known and emerging artists in the United States.

Zoom link: ​https://us02web.zoom.us/j/83922305669?pwd=MTdYRnBzRnREMEFxS3ZQd0lMRXVDQT09
Meeting ID: 839 2230 5669
Password: JRAart2020

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The James Renwick Alliance (JRA) is an independent national non-profit organization that celebrates the achievements of America’s craft artists and fosters scholarship, education, connoisseurship and public appreciation of craft art. The JRA is made up of art enthusiasts, collectors, artists, educators, students and art professionals who share a passion for contemporary American craft. Founded in 1982, the Alliance fulfills its mission through public programs, educational trips, publications, recognition of craft artists, and financial support of museums and other non-profit organizations, including the Renwick Gallery of the Smithsonian American Art Museum. 

Artomatic 2.0 Registration is Officially Open

Visual Artist Registration is officially open!

The glitches have been fixed! Please note that you can register on a laptop or an Ipad; not on a mobile device just yet. I will let you know when mobile capability is ready. 

If you registered during the "glitch period", please do not re-register. You can now go into your artist profile and make edits. 

They will provide each visual artist with an "artist tool kit" of images to help you promote your work to your networks. These images include some generic art mediums and a customizable graphic for your own images or headshot. 

Registered artists: Look out for that email in the coming days. 

If there are any questions, please email info@artomatic.org. 

Artomatic website.

Rejected!

Bummerstein! But Artists need thick skins!

Dear Lenny Campello, 

Thank you so much for your submission to MPA's online exhibition, SHIFT. 

Unfortunately, your work was not chosen by the jurors. We received a very large number of submissions and choosing from among them was very difficult. 

The exhibition will be online from July 15 - August 27. 

The virtual opening of SHIFT will be held on Zoom on Wednesday, July 15 from 7 - 8 PM. If you are interested in attending, please register on our website, www.mpaart.org. 

We very much appreciate your interest in MPA's programs and exhibitions.  

Best regards, 

Nancy Sausser,
Curator and Exhibitions Director

Call for Montgomery Artists!

Yuri Schwebler Curatorial Project at AU

My good bud John Anderson passes the following:

I'm pleased to announce that the Yuri Schwebler curatorial project I have been working on the last few years is “open," and that the catalog is now available online. 

Although originally scheduled to open in June, because of the pandemic the American University Museum canceled all their summer exhibitions. As a result, I offered to create a virtual exhibition (fancy words for "slideshow") to substitute for what was no longer going to be on exhibit. You can find links to the slideshow, and the exhibition catalog, on the museum's exhibition page.

This exhibition is, in many respects, an extension of my earlier Jefferson Place Gallery research, which has expanded to included monographs of Hilda Thorpe, Mary Orwen, and Jennie Lea Knight (each at Marymount University, co-curated with Meaghan Kent and Caitlin Berry), and a catalog essay about Rockne Krebs and Sam Gilliam, for Day Eight's exhibition Built and Unbuilt.

On Thursday, at 12:30 Eastern, there is a virtual discussion between the Museum's Director, Jack Rasmussen, and myself. Registration can also be found on the exhibition page.