The curious case of Western Union

Today I went to Western Union to send one of my daughters some moolah.


As I don't do this very often, I was somewhat taken back by the complexity of the process, once it involves a significant amount of money.


After, and only after, I handed off the clerk a few thousand bucks (not over or even close to $10K in case you are wondering - as I know that this has to be "reported"), she asks me for my Social Security number.


She then asks if my SSN was "issued in the United States?"


I'm not even sure what that question means, but I tell her yes...


She then asks me where was I born.


And then she asks what I do for a living.


She processes all of this into her computer and then tells me that I need to call a number and answer a few questions before my money is "released."


I call the number, and oddly enough for someone working telephonic Customer Service, the lady assisting me had one of the most atrocious accents that I've ever heard on the telephone.


This meant that I had to constantly ask her to repeat the multiple questions, which were rather personal and somewhat surprising.


Q: What did my daughter need the money for?


A: She's moving and I'm helping with the rent and deposit, etc.


Q: Will all of this money be used for the rent and deposit? How much is the rent?

Q: When was the last time that I saw my daughter?


I shit thee not!


After multiple repetitions because I could not understand the English from the nice Western Union phone lady with the "she sounds like she's speaking Finnish underwater" accent, I'm put on hold for 5-6 minutes.


After that I am told that the funds would be released once she shows up with two forms of ID. I guess that my name didn't pop up on any nefarious lists, which is a good thing because I am one solid US citizen with zip to hide.


Now, I understand that this is all probably related to suspicions of drug money, or related to the IRS wanting to know everything about cash transactions, etc., but it truly felt somewhat scary, which sucks, because all that I'm doing is sending my fucking daughter some money to help her move.

X-rated medieval doodles

X-rated medieval doodles reveal our ancestors had a sense of humor... read the CNN story here.

Carte Blanche at Adah Rose

June 10-August 31, 2016

Change is in the air. Summer is a time to embrace the new, spend time outdoors and shake things up a little bit. At Adah Rose Gallery we will be rotating our exhibits every three weeks and invite guest artists to participate as well as gallery artists.  One week we may feature large scale painting, one week works with an emphasis on color and the next...works with TEXT. Shows will be curated by former interns and patrons. We want to keep it exciting, dynamic and challenge the way we view art in our space.

 

Guest artists will be added continually all summer long and so far include Sarah Purvey, Sheila Giolitti, Christina Tenaglia, Dave Rothschild, Gregory Ferrand, Joy Garnett, Kyujin Lee, Tim Makepeace, McCain McMurray, and Gabe Brown. 

Adah Rose Gallery

3766 Howard Ave

Kensington MD 20895

www.adahrosegallery.com

301-922-0162

Hours Thurs-Sunday 12-5:30 and always by appointment

The Looking Glass: Artist Immigrants of Washington

Let me plug an upcoming group show at American University’s Katzen Art Museum, since I am honored to be part of it. 



By the way, that gorgeous museum was built thanks to a major gift from Cyrus and Myrtle Katzen, he a brilliant collector of art who could teach lessons on how to collect; she a very talented artist with a refined eye for great artwork. The Katzen’s head honcho, Jack Rasmussen, continues to shame all other DMV museum directors and curators when it comes to them tending their own artistic back garden.


At the risk of repeating myself: most DMV museum curators would rather take a cab to Dulles Airport to fly to Berlin in order to visit an emerging artist’s studio than to take a cab to the Gateway Artists’ Studios, or to any area artists’ studios, to look at local artists.


Are you hearing me Stéphane Aquin? Taína Caragol? E. Carmen Ramos? Eleanor Jones Harvey?, etc. Learn to tend your own artistic back garden.




The show is titled The Looking Glass:  Artist Immigrants of Washington and it runs June 18–August 14, 2016. It is part of the amazing Alper Initiative for Washington Artists (if you don’t know what that it, and you are a DMV artist, you should! – contact the Katzen).



The opening is June 18 from 6-8PM. There will be plenty of adult beverages and munchies, and the artists will be there to talk about their work.




The exhibition celebrates ten artists who left Latin America for many different reasons over the last sixty years – primarily for safety, freedom, and opportunity – and made their homes, and their artistic careers and contributions, in the Washington region.




Ric Garcia, Los Santos, 2012.
Acrylic on canvas, 40 x 30.
Photo by Pete Duvall, Anything Photographic.

They include Joan Belmar and Juan Downey from Chile, Carolina Mayorga from Colombia, Ric Garcia, Jose Ygnacio Bermudez, and yours truly from Cuba, Muriel Hasbun from El Salvador, Frida Larios from El Salvador/Honduras, Irene Clouthier from Mexico, and Naul Ojeda from Uruguay. They brought with them artistic traditions that took root and bore fruit here in the United States.


See ya there!

Spokane Arts Commission call for submissions for the Chase Gallery

Deadline:  September, 16 2016  - 5 PM PST     
    
The Chase Gallery submissions are open for the 2017 season and they are seeking artists of color for the Winter and Fall Exhibition schedules.



Winter: Spokane Arts Commission is seeking work from Artists of Color for the Winter exhibition schedule (January through March.) The reception will take place on the February Visual Arts Tour.


Identities of race and culture are fluid, ancient, or new. Whether your work directly addresses your cultural experience or not we are interested in sharing it with a wide audience.


The artwork will be selected by a diverse panel of jurors.


Apply here.

New Pop Up Art Space

The DMV has a new rental pop up art space available... details below from the news release:

Bridging the gap between artists and collectors  

As an artist, I have found myself struggling to find the right place to showcase my artwork.  I know firsthand how truly frustrating it can be to not have any gallery representation and only have the opportunity to show in restaurants, coffee shops, and other venues that are not designed for the ambiance that pieces of art need to be fully appreciated. 

For that reason, I created White Cloud Pop-Up Art Space. In this space, walls, ceiling and floors are united in harmony by the purest white color. Combined with a generous amount of natural light, there is a clean, simple background to truly let your work stand out.

White Cloud is conveniently located in the heart of the U Street corridor, only 2 blocks from the U Street metro and within walking distance to some of DC’s most popular restaurants and coffee shops. All day and night, potential clients are just footsteps from the gallery.

In addition, White Cloud provides this amenities: 

•        Over 400 sq ft of art space
•        Heavy railing hanging picture system to easily hang and remove art
•        Track lighting to spotlight your pieces
•         Modern desk that can also be used as a service area
•         Nicely renovated bathroom
•         Fully functional HVAC unit
•         Large refrigerator and microwave 

Below is information on our Pricing and Frequently Asked Questions about the gallery. We look forward to working with you! 

Pricing:
Weekdays: (Monday through Thursday) $300 for two hour public show.  

This price also includes two hours for set-up and one hour after closing to clean and    remove pieces. Set-up can begin at 10 AM on the day of the show. All exhibitions must  end by 11 PM. 

Weekends: (Friday, Saturday and Sunday) $500 for two hour public show. This price   also includes two hours for set-up and one hour after closing to clean and remove  pieces.   Set-up can begin at 10 AM on any day of the show. All exhibitions must end by
11:00 PM 

Two-day weekend show: (Friday, Saturday, Sunday) $800.  Set-up can begin at 10 AM  on the first and second days of the show. Set-up can begin at 10 AM on any day of the   show. All exhibitions must end by 11 PM.  

Full weekend show: (Friday through Sunday) $1000.  Set-up can begin at 10 AM on    any day of the show. All exhibitions must end by 11 PM. 

FAQS 

WHERE IS THE GALLERY LOCATED?
Our address is at  1843 14th street NW 2nd floor, Washington DC, at the corner of 14th
and T St NW. 

WHAT ARE THE GALLERY HOURS?
White Cloud opens at 11 AM. Until 7pm, but better to make an appointment first. 

CAN I TOUR THE STUDIO BEFORE RENTING IT?
Of course!  White Cloud Gallery can occasionally accommodate walk-in tours, but it’s  always best to schedule an appointment. Give Miguel a call . 

WHAT IF I NEED MORE TIME TO SET UP OR REMOVE MY ART?
No problem. I’m happy to work with you. This is negotiable. 

IS THERE A SERVICE ELEVATOR?
White Cloud Gallery is on the second floor of the building and we do not have a service  elevator - please come prepared to carry any equipment/props up a flight of stairs.

WHERE CAN I PARK?
A new public parking lot just opened across the street from White Cloud Gallery at 14th
St NW and Swann St. NW). There is street parking on 14th Street and the surrounding  neighborhood blocks.  

INSURANCE
Artists are responsible for insurance that covers damage to their artwork.  We do  require a $300 deposit in cash for all exhibitions to cover any incidentals and clean/up.
This deposit will be returned at the end of the exhibition 

DO YOU CHARGE A COMMISSION?  Nope!            

HOW DO I RESERVE THE GALLERY?
Gallery reservations are on a first come first serve basis. A non-refundable deposit of  50% of the total cost is required to hold the space. The remaining 50% of the balance is  due seven days before the exhibition.

1843 14th street NW, Washington D.C. 20009
(202) 288 1391 whitecloudgallery@gmail.com
Artist Director Miguel Perez Lem 

Opportunity for artists

Deadline: July 11, 2016


National and international artists are invited to submit qualifications for the Oregon Art in Public Places Roster. The Oregon Arts Commission and the Regional Arts & Culture Council manage the percent for art programs for the State of Oregon, Multnomah County, and City of Portland. The Roster is a resource for public art selection panels to identify artists most suitable for their community and specific project needs.


Enter here.

Airborne

Airborne today and heading to the Miami tonight for a luncheon in honor of my amazing mother.

The Usefulness of Art in the Community

 

The WPA is pleased to invite you to a useful talk by Kemi Ilesanmi, Executive Director of The Laundromat Project.

Thursday, June 16, 2016, 6:30pm

The Laundromat Project has been producing art in and with communities for more than a decade. Their mission is to unleash the creative potential already in neighborhoods. Kemi Ilesanmi will discuss the LP's work from a use-value perspective and within the context of the larger, ongoing evolution of community arts organizations nation-wide. 

How do I start collecting art?

I am often asked, usually by friends outside the art cabal, and by people who become interested in collecting art, but have never collected artwork, what they should “collect.” 

"What should I buy Lenster?" "How do I start?"

Many years ago, I formed an opinion based on empirical observations, that there are really only two basic rules to start an art collection:

1. Collect what you like, and
2. Whenever possible, buy the original. 

That’s clear, right?

Buy and collect only what you like, what attracts your eyes, and what interests you personally, and is within your economic means. If you like the work of a particular artist, or a specific kind of prints (like Japanese woodcuts), or drawings (such as figurative drawings), then focus your collection in those areas.  This also comes with a caveat, as a lot of excessive attention is often placed on a "focused" collection. A diverse collection may make less sense to some than a focused one, but it only has to make sense to you! After all, it is your collection.

It has also been my experience, that the more affluent a “beginning collector” is, the higher the probability that he/she will get swindled into spending a lot of money for wall décor and fancy frames. Since most of us are not affluent, the high end of the commodified art market is not where I’m focusing this post.

For those affluent folks: if the "gallery" has large realistic paintings of cigars resting on wine glasses, or the artwork comes with an "option" for a rococo frame, run for your lives!

The DMV offers an immense variety, and multiple, loads of, tons, mucho, a lot, beaucoup, diverse sources to begin an art collection.

The key to most of that statement is the number of art schools, art leagues, art centers, and reputable commercial art galleries that exist in our area. Add to that the number of independent artists’ studios, and you have the perfect mix for starting an art collection.

Let start with the schools; nearly all art schools and universities put together student shows. Usually these are Master of Fine Arts (MFA) shows – the graduation show for MFA program students.  American, Catholic, George Mason, George Washington, Maryland, Montgomery Community College, Northern Virginia, and others are but a sampling of some excellent places to troll for student artwork.

Buying student artwork generally equals buying an artist early on his/her career.

Buying an artist early in his/her career is the “golden nugget” of most art collectors’ hopes.  That puppy crossed my road a few times in my life.

In 1989 I stood in front of an original oil painting by Scottish painter Jack Vettriano at the Royal Scottish Academy in Glasgow... I loved it! 


I think that it was Vettriano’s first ever show (it was a group show; actually a painting competition or was it the Royal Scottish Academy annual show?), and there were two of his early paintings (all done as I recall, at his first - and only - art class).

It was on sale for 300 British pounds, which at the time for me might as well have been 300 million pounds, since my US Navy Lieutenant’s salary barely covered expenses in Scotland, which is where I was stationed at the time.  That painting sold for 300 pounds. .. 300 pounds at the time was around $500 dollars.

Today, although he is despised by the art critics and the British arts establishment, he is adored by the public and by some very important collectors, and his works, if you are lucky enough to get on the waiting list for one, ranges in the hundreds of thousands of pounds.

And that early one that I passed on? Sold at Sotheby’s a few years ago for a lot more... a LOT more pounds. Beginning art collectors can find their own early Vettrianos at art competitions, MFA shows, outdoor art festivals, open studios, etc.

I will discuss open studios in our region later on.

Who owns the copyright to your tattoo?

Did you design your own tattoo?

Then read this.

What can I say?

Anderson The Campello
2016 Photo by Zarya Navarro

¿Quién tiró la tiza?

While I was in Miami last week, a friend turned me onto this Afro-Cuban rap song about the sad state of race injustice in Cuba, where one of the planet's most racist dictatorships oppresses their people, and oppresses their African ancestry citizens even worse.

The refrain goes:

Who threw the chalk?

That Negro

Who threw the chalk? Was it the doctor's son? No

Who threw the chalk? That Negro

Because, the son of the doctor, John, is the best

An example of one of the verses:

In class, if I raise my hand, get out of the class Negro

If I argue with the girl, it had to be the Negro

If I get a good grade on the test, I know that you copied it Negro

And if I fail the test, You didn't study - I'm happy

¿Quién tiró la tiza?
El negro ese.
quien tiró la tiza no Fue el hijo del doctor? no
quien tiró la tiza, el negro ese
porque el hijo del doctor, john es el mejor

¿Quién tiró la tiza?
El negro ese.
quien tiró la tiza no Fue el hijo del doctor? no
quien tiró la tiza, el negro ese
porque el hijo del doctor, yo

primero escucha y despues goza asi que ponte pa las cosas dio!
primero escucha y despues goza asi que ponte pa las cosas

primero escucha y despues goza asi que ponte pa las cosas dio!
primero escucha y despues goza listen to me, pa lo que digo aqui

A ver como te explico yo esta parte, para ese año estaba yo en la escuela nacional de arte
estudiando el primer año del nivel elemental y
Yo un negrito chiquitico con su uniformito y si acaso colonia Bebito encima

En cambio los hijos de de papi y mima iban con Addidas, medias deportivas y una perfuma nada que ver con la mía, mira observa aqui na´má, un dolor solo en común teníamos el color,pero, ima-gína-te papa es doctor, y ya tu sabes, cuatro puertas, pescador
Y yo el Zingaro porque el mío sí era constructor, hey yo

¿Quíen tiro la tiza? El negro ese.
Quíen tiro la tiza? No fue el hijo del doctor. No.
¿Quíen tiro la tiza? El negro ese.
Porque el hijo del doctor, John, es el mejor. * se repite*

El hijo del doctor da ropa, zapatos
El hijo del doctor merece un buen trato
El hijo del constructor, ese negro es delincuente
Y por eso este año, coño, va a ser repitente.
El día del maestro llegará en cualquier momento
Y ¿cuál será el regalo? Ladrillo, cemento.
Pa´llá pa'lla Esos negros, elementos,
Me quedo con el doctor que resuelve medicamentos

En clase si levanto la mano, sal del aula negro.
Si discuto con la jeva, tenía que ser el negro
Si sacaba buenas notas, sé que te fijaste negro
Y si desaprobaba, no estudiaste, me alegro

Por eso no es lo mismo el hijo de un doctor que el hijo de un constructor
Porque la vida del doctor es carro, motor; la vida de un constructor es con dolor. hey yo!

¿Quíen tiro la tiza? El negro ese.
Quíen tiro la tiza? No fue el hijo del doctor. No.
¿Quíen tiro la tiza? El negro ese.
Porque el hijo del doctor, John, es el mejor.*se repite*

Empezandose ejercicios complicados
Yo volviéndome un mago
Y una pila de profesores dándome de lado
Suerte que a mi no me fue tan mal
Y una profesora al frente con clase particular, cosa usual
Bien por el primer control parcial, cosa extraña
Profesores preocupados diciendo, hay maraña
Como siempre, ah, el negro y su problemática
Se habían robado cuatro pruebas y de matemática
La misma prueba que ya había examinado.
Comentario: Ya sabía por qué había aprobaó
Porque tú eres un mano suelta, sinvergüenza, descarao
No asimilaban que este negro había estudiao
Las clases particulares no eran gratis, eran pagao
Bueno, si las pagaste ya tu estás desaprobao
Men dime quien aguanta este tren
Y la esperanza de la pura era verme en la FEEM, ¿qué tu crees?
pero estas son cosas que revuelven la gantiña
antes de que me botaran yo si me fui pa la ********

¿Quíen tiro la tiza? El negro ese.
Quíen tiro la tiza? No fue el hijo del doctor. No.
¿Quíen tiro la tiza? El negro ese.
Porque el hijo del doctor, John, es el mejor.*se repite* y se repite

primero escucha y despues goza asi que ponte pa las cosas dio! ah!
primero escucha y despues goza asi que ponte pa las cosas, lleva ritmito

¿Quíen tiro la tiza? El negro ese.
Quíen tiro la tiza? No fue el hijo del doctor. No.
¿Quíen tiro la tiza? El negro ese.

claro claro claro es el mejor * se repite*
el hijo del doctor john

( no se si diga john o namas yo!)

suerte!!

Tiene el leopardo un abrigo

To my dear friends and extended FB friends... thank you for all your kind words about my mother's passing... I leave you with a poem by Jose Marti:

Tiene el leopardo un abrigo
En su monte seco y pardo:
Yo tengo más que el leopardo,
Porque tengo un buen amigo.

Duerme, como en un juguete,
La mushma en su cojinete
De arce del Japón: yo digo:
"No hay cojín como un amigo".

Tiene el conde su abolengo:
Tiene la aurora el mendigo:
Tiene ala el ave: ¡yo tengo
Allá en México un amigo!

Tiene el señor presidente
Un jardín con una fuente,
Y un tesoro en oro y trigo:
Tengo más, tengo un amigo.