First Fridays

If you wanna do openings and gallery crawls, first Fridays is your key day.

There are a lot of gallery openings tonight in Philadelphia, a city known for "legendary stinginess toward the arts" according to the Daily News' Tom DiNardo.

Details on the gallery openings "here.

In DC, Heather Goss details some key openings around the nation's capital, and I will say it again, DC can also be accused of wanting to save a dinar here and there at the expense of the arts. Check out DCist here.

Fidel Castro as an Orthodox Jew

In Cuba, you can get in a lot of trouble if you depict "El Lider Maximo" in any sort of unfavorable light, or showing any kind of weakness. Big trouble... like jail time sort of trouble.

Castro manipulation of organized religion has been masterful, and the way that he has handled the Catholic Church in Cuba, as well as the decimated Cuban Jewry, should be a lesson to all despots and tyrants. Because Castro is essentially an atheist and deeply against organized religion, which he uses as just another tool of his regime, depicting him in any sort of religious or believer status would be cause for artistic concern in Cuba.

But this is America.

And although the old tyrant has never been very proud of his Celtic roots, his parents ancestral home in Galicia has actually offered him an exile home in the rugged mountains of Iberia's Celtic regions, in the event that Castro ever decided to leave Cuba, which I seriously doubt that he ever will.

But in Cuba there has always been an urban legend that Castro's mother, Lina Ruz, also described as a Galician, was actually Jewish, perhaps because her last name was said to be similar to a well-known hidden Sephardic Jewish family in Spain.

Also, because Castro was born out of wedlock to Lina (who was the 14 year-old daughter of a maid in his father's household); and because Castro was the third out-of-wedlock child of Lina; and because this affair was the cause of his father's divorce from María Luisa Argota (his Galician wife); and because Castro was not baptized until age 8, the children in the Jesuit school that he started attending at age 6 labeled him a "Judio" as a derogatory term in the racist Cuban society of the 1930s.

"Fidel Castro as an Orthodox Jew"
Charcoal on Paper, circa 2007 by F. Lennox Campello
And thus, and begging forgiveness from all Jews around the world, my drawing of an elderly Fidel Castro Ruz, who like many senior citizens, has suddenly discovered religion, begged and prayed for forgiveness for all his horrible sins and abuses of the Cuban people, and using his power forced his way and become an Orthodox Jew in Havana's historical synagogue.

Next (and definately more appropriate): Castro as Ayatollah Fidel...

Bethesda gallery renamed

Today I received a press release announcing "Waverly Street Gallery formerly Creative Partners Gallery's" Holiday Show (a multi media show featuring the work of Gallery Artists) from December 4, 2007 through January 5, 2008, with an opening reception on Friday December 7, 6-9 pm.

What took me a little bit by surprise was the fact that Creative Partners had renamed itself. Their new website (which as of this AM does not work for some reason is www.waverlystreetgallery.org).

Since I am in a "do as I say, not as I do," mood - and actually thinking about re-naming Mid Atlantic Art News to something more generic in case I spread my wings to New Mexico in the future - this question will sound a little hypocritical.

Why do galleries with a long established presence rename themselves?

Creative Partners is one of the Greater DC area's top cooperative galleries, which means that it is an artist-run, artist-owned gallery, where all members share all of the gallery's expense, and like many of the co-ops around the DC area, and other metropolitan areas, they have been around for a ton of years.

So they have name recognition, which in the gallery world is a good thing.

And thus the question: why change the name?

Creative Partners is the second area gallery to do this recently. Factory Photoworks renamed itself Multiple Exposures Gallery a couple of years ago. Like Creative Partners, Multiple Exposures, nee Factory Photoworks, has been around for decades, and showcases some of the best photography in the region at very affordable prices.

I could call Creative Partners and ask them the question. But it is more interesting to elaborate and guess on a generic reason why an established gallery would change their name.

In the case of a cooperative, I think that the reason may be simply to begin the process to re-invent itself; to attempt to establish a new presence, by disassociating somewhat with the past.

I don't think that changing names is necessary for this; in fact, I think it may hurt the cause (if that's the cause). It is spectacularly hard to do a global change for any and all presences where the "old name" exists: directories, press lists, websites, online resumes, roledexes, etc. Unless you are careful and do it right, you can wipe out an entire digital footprint with a name (and website) change.

I am a big fan and supporter of cooperative galleries. Together with independently owned commercial fine arts galleries, non-profit galleries, university galleries, museum galleries, and alternative art spaces, they make up the visual arts tapestry of a city or region.

All galleries everywhere, including fabled places like New York and LA, struggle to survive and sell work in order to pay the artists, pay rent, pay for publicity, pay for openings, pay for electricity, pay for the plumber the 2-3 times a year that somebody flushes a sanitary napkin (or one of those indestructible hand towels) down the toilet at an opening and clogs the pipes, pay for websites, etc.

Selling art is not an easy task for the most adept of galleries and gallerists. The tales of sold out shows and shows that sell out before the openings are sometimes true, but also sometimes exaggerated as a publicity stunt. I know for a fact of a former DC area gallery (no longer around) that used that storytelling line to create this "sold out" aura around the gallery that was fabricated most of the times.

Selling art in the Greater DC region is a especially difficult task, and a hard one to understand. Selling art in the Philadelphia area appears to be just as difficult, if not more, than the DC region. Both areas have more than their share of very, very wealthy people.

A lots of upper income bracket people as well. The estimated median household income for Bethesda, Maryland (where Creative Partners is located) was around $114,000 two years ago, and the median house or condo in Bethesda is around $850,000. By the way, it's $150K and $950K in nearby Potomac.

And you can research your head off and find out that generally speaking, the Greater DC area is making more money than most of the rest of the country.

But cracking the code and getting people to actually buy a piece of original artwork is a very difficult process, and unfortunately for the galleries and for artists, they only control a small part of it.

The most difficult part is getting people to actually know that there are galleries, and openings, etc. Getting the potential buyer to the gallery, or aware of the gallery or artist, is the key, and of course the most difficult part.

And because most galleries can't afford the rents right on the main commercial streets (say M Street in Georgetown, or Bethesda Avenue in Bethesda), they're usually found in clusters just off the main drags (like Canal Square in Georgetown, R Street in Dupont Circle, or to the side of East-West Highway in Bethesda, like Creative Partners - on Waverly Street I assume). And galleries, hungry for low rents and bigger spaces, are usually the first ones that begin to revitalize a sketchy neighborhood, such as the former Fusebox Gallery did for 14th Street (for galleries anyway) and Conner Contemporary is doing for the entire business community in their new location. And let's not forget that a few decades ago, a handful of artists took an abandoned building in boarded-up Old Town Alexandria, removed forty truckloads of garbage from the building, refurbished it and created the Torpedo Factory and kindled the birth of a new tony neighborhood and destination.

That means that you usually do not have the luxury of "walk-in" traffic of people walking around the nice shops, boutiques, restaurants that line up high end commercial streets like Bethesda Avenue or M Street, etc.

And the stores that sell pretty wall decor pieces on those high rent streets do gang buster business. In them you find every variation of the "painter of light" theme, or the art of rock stars (dead or alive), or TV celebrities artwork, or perhaps Russian kids who paint like Picasso (and have since grown up).

And they sell all of the above for serious money.

The kind of money that could buy serious art, not wall decor.

And the buyers think that they are buying serious artwork.

And then they drop another grand for a rococo frame to go with the wall decor.

And from my own personal experience, every once in a while, a handful of times in a gallery's lifetime, one of those buyers "discovers" a real gallery and then a collector is born, if the gallery is good enough to educate and open the person's eyes.

Why are these would-be collectors so hard to bring in from the dark side? A while back I submitted this thesis:

Because they were not exposed to art in their upbringing. Not because their parents were bad, uncultured people, but because their parents were hard-working stiffs who worried about the rent, the electric bill, the food bill and paying for junior's college so that junior could get a Computer Science degree and go on and invent AOL.

And in college, junior probably was not exposed to art other than the two or three peripheral courses that he needed to get his electives; certainly not to buying art, or even aware that art was for sale.

And then junior works hard and becomes a millionaire, and now has disposable income out the yingyang, and looks around for expensive toys, because as George Carlin is fond of saying, we all love to collect "stuff."

And he sees ads for expensive cars, expensive furniture, expensive cigars, and he reads tons of reviews for the latest trendy restaurants, etc. But he's never really made aware that there's also art out there, for our local media has a spectacular sense of apathy towards the visual arts in our area. The Washington Post is the only major American newspaper that has a freelancer deliver around 25 reviews a year to cover an entire year of DC area gallery shows, and they allow their chief art critic to review only museum shows. Very little attention is placed upon our art galleries by the newspapers, certainly not commensurate with the amount of print space that they give theatre, music, dance, fashion, etc.

So junior doesn't know that the DC area has a really good and creative visual arts scene.

Thus when junior takes a stroll through the city's main shopping streets, he doesn't know about the side streets where the galleries are, but sees the stores passing for art galleries that sell the pretty, expensive "pictures," and then junior assumes that this "stuff" is art.

And he drops a ton of money for a pretty "picture." It happens all the time, otherwise these stores would go out of business.

But instead it is the art galleries that go out of business: Veerhoff (after 125 years), Numark, eklektikos, Fusebox.

Every once in a while, junior - usually by accident - discovers a reputable art gallery, and sometimes a real collector is then born. It has happened to me, as a dealer, many, many times. But for every one of those, thousands of others remain on the dark side, or worse still, think that they have to go to New York to find contemporary art.

The apathy shown by the media towards art galleries and visual artists is multiplied by a thousand if you happen to be a cooperative gallery.

Art critics, writers who write about art, art bloggers, and other assorted scribes in the art scene tend to ignore cooperative galleries and their artist members. It is immensely unfair and short-sighted, and reflects an interesting sort of neo-connish tendency in an otherwise very liberal crowd. Like the same group's general dislike and distrust of any artist who is liked by the public in general; or public art that the public likes. It's an interesting paradox that has always intrigued me.

I've never been a member of a coop gallery, but have juried shows for coop galleries many, many times, and intimately know artists who have and are members of cooperatives. And thus I have some insight into the inner workings of galleries such as Creative Partners is.

Like I said, running an art gallery is not an easy task - as Washington Post Arts editor John Pancake once told me, it is a "heroic act."

Running a gallery by committee, as coops by default are run (and non-profits are supposed to be run), must be the task from art hell. And like any committee running anything, 10% of the people usually end up doing 90% of the work.

It's a paradox of its own. The same strength (equitable distribution of expenses among artist members) that makes a coop nearly invincible to the economic forces that makes opening an art gallery the second riskiest business proposition in the nation (restaurants are first), is its most visible weakness (direction by committee).

Trying to convince 20 or 30 voting members to agree on what colors to paint the gallery walls must rank up there with trying to get any Presidential candidate to answer a "yes or no" question with a "yes" or "no."

Getting the talented bunch over at Creative Partners to change names to Waverly Street Gallery, or the amazing photographers at Multiple Exposures, nee Factory Photoworks, must have been a herculean task.

And if the name change main reason is to set a new presence and a new footprint and a new direction for the gallery, and hopefully generate more noise (reviews in newspapers, blogs, etc.) and more sales, then there's a whole complex set of other issues that would need to be addressed. Issues too long and exhausting to list here, but important for a gallery re-inventing itself. Issues such as preserving online presence, learning how to improve art sales, visualizing and implementing a "new" physical presence, distributing the workload with specific goals, website presence and organization, selling avenues to explore, aggressive press presence, display, etc.

Otherwise, it would be the same as when Esso renamed itself Exxon: new name but same old gas.

Trescott on WPA

The WaPo's Jacqueline Trescott with an excellent article on the WPA's separation from the Corcoran first reported here.

You can also read the official news release here.

WaPo Blog Directory

The Washington Post has started a new blog directory with some very cool capabilities. If you are a blogger, you can register your blog here.

The 0 Project

The gent in that cherry picker installing the massive work of art by Rosemary Feit Covey around the Arlington Arts Center is my good friend Jeffry Cudlin, the Center's curator and the City Paper's chief art critic.

As I've stated before, Rosemary Feit Covey is one of those wizard artists that when you see their work, you are left speechless by both the imagery and also by the technical skill. She is by far, my favorite printmaker in the DC region.

"The 0 Project"

Cudlin is installing part of Rosemary's "0 Project [Zero Project]"

The 0 Project is an installation involving worldwide participation. The centerpiece of the project is 0 ("Zero"), a 300-foot long, 15-foot high banner printed on DuPont™ Tyvek®, which will wrap the old building of the historic Maury School. It will be installed through February 2008.

The image on the Tyvek is based on a drawing created by Rosemary Feit Covey, and "shows a vast crowd of shouting faces looking out at an unseen event. The image, representing silent screams of the masses, serves to encourage viewers to speak out about societal concerns and contemporary events, thereby giving voices to the voiceless. Significantly, the image does not have a political bias and invites participation regardless of the cause."

Check it out here. Scheduled national and international partners for this project are located in Los Angeles; Mumbai, India; Buenos Aires, Argentina; and Toronto, Canada.

Selected from among hundreds of applicants in the mid-Atlantic region, the 0 project will also premier as a printed piece wrapping the Arlington Arts Center this week. Printed on Tyvek on an HP 500 printer, upon installation it will be fifteen feet high, wrapping 300 feet around the outside of the art center... and that's what Cudlin is installing.

The evening reception is this Friday, October 5, 2007 from 6-9 PM and will include a performance piece in which the public is invited to participate

WPA\C Announces Separation from The Corcoran

The Washington Project for the Arts is leaving the Corcoran and returning to its independent roots.

The separation will be formal on December 31, 2007 and the WPA will relocate to new offices in the Dupont Circle area.

More later.

When the dog bites

My wife is a retired-from-competition former uberathlete. She was once ranked fifth in the world in the duathlon, was twice the Maryland triathlon champion, swam for Colgate, blah, blah, blah.

And although she no longer competes, she still runs a gazillion miles a week, swims endless laps and road-bikes all over the place.

Recently, on a Sunday where there was an awesome flea market in downtown Media, PA (hundreds and hundreds of sellers), we made plans to meet in Media. She would bike from the University where she teaches and I would, ahem, drive to Media.

Around noon or so I get a phone call from her telling me that she's leaving the school and heading to Media - that's about four or five miles. Her cell phone reception in this area, by the way Sprint, sucks.

A little while longer I begin to get worried. And then I get a broken-up, unintelligible call from her, but I can tell that something's wrong, really wrong.

Two or three broken up phone calls, all with the same sense of urgency, and then a few more, now with male voices trying to say something, really panics me, so I run to my van and race down the street where I knew she'd be biking.

I come across an ambulance, I stop and here's what happened:

She was biking down the street, not the sidewalk, but the street, and doing 25-28 MPH, which unless you're a really good road biker, is like the speed of light to chicken bikers like me.

On a lawn ahead of her, she spots a dog. A really big fucking, scary looking dog. She's a savvy road biker, with thousands of miles under her butt, and thus she mentally checks out that there's a big dog, but also that the dog's owner is holding the dog with a leash, but she keeps an eye on the situation.

As she zooms by, the dog pulls away from its owner, pulling her onto her stomach and escaping from her leash-hold, and makes an intersecting bee-line for the bike approaching down the middle of the street. And the dog lunges and bites her on her lower calf, a few inches above her knee.

This dog weighs 138 pounds (my wife weighs 115), and it's a half (what else?) Rottweiler and half Husky.

At this point, I think that 99% of the bikers on the planet would have been knocked off their bikes, with a huge dog clamped onto your leg. In fact I would have fallen off my bike had the dog just barked.

But she stays on and keeps pedaling. Can you imagine the strength and balance needed to do that?

And I suspect that one of the wheels, or perhaps the pedal, hits the dog and the beast lets go and returns to its screaming owner, probably licking its bloody chops.

By the time I got there, the ambulance was already there, and the cops had sized up the situation, and I send the ambulance away to emergency to deal with the number two pencil-sized holes that the canine monster had left on her thigh.

The very agitated dog owner: "I am so sorry, he's such a gentle dog, he's never bitten anyone before... he just reacts like that when joggers or bikers come across his territory..."

Wanna go to a DC opening this Wednesday?

The Catholic University of America’s Columbus School of Law, together with the CUA Department of Art and Campus Ministry has sponsored the juried art exhibition entitled, Images of Justice, which explores the theme of social justice through the vision of local artists in a broad spectrum of two- and three-dimensional media.

On display will be works by Mark Behme, Linda Hesh, Emily Greene Liddle, Dr. Robert E. O’Brien, Fernando C. Sandoval, and Henrik Sundqvist.

Opening Reception, 4-6 p.m. – Wednesday, October 3, 2007.

Opportunity for artists in LA

Deadline: November 30, 2007

LA's Korean Cultural Center is seeking submissions from US artists for exhibition. Open to all media. Awards of up to $2,900. No entry fee. Send SASE to:

Korean Cultural Center
15th Annual
5505 Wilshire Blvd
Los Angeles CA 90036

Or call 323-936-7141 or fax to 323-936-5712(FAX) or email exhibition@kccla.org

Opportunity for Artists in Virginia

Deadline: October 29, 2007

Charlottesville's Second Street Gallery, established in 1973, seeks entries for its 2008-2009 exhibition season. Submit 10 slides or Mac CD PowerPoint presentation (not PowerPoint show), slide list, resume, statement, SASE, and $15 fee.

Second Street Gallery
115 Second St SE,
Charlottesville, VA 22902

Arlington Openings this Friday

Friday, October 5, 2007, from 6:00 to 9:00 p.m. at the Arlington Arts Center is the opening for the seven new solos that start their fall season.

This collection of seven solo exhibitions — each distinct, and occupying its own gallery at the AAC — "encompasses everything from traditional representational painting, to wall mounted sculptural installation, to hybridized projects using video in combination with other media."

And in the case of Chawky Frenn, I predict harsh political and social commentary art, painted with an exceptionally talented hand with little irony.

From the news release:

- Gillian Brown projects video onto translucent objects, breaking evocative images apart and refracting or reflecting them onto various surfaces.

- Heidi Fowler paints images of everyday industrial objects on unconventional substrates — her recent work features networks of phone or power lines painted across collaged beds of junk mail envelopes.

- Chawky Frenn’s representational paintings are dense with art-historical allusions and violence in equal measure. His work has been formed by his experiences growing up in Lebanon, witnessing the atrocities of war firsthand.

- Laurel Lukaszewski is a sculptor who explores pattern, rhythm, and line using black stoneware and porcelain. The abstract tangles projecting off of the walls in her installation at AAC, Kaminari, playfully represent brush strokes in three-dimensional form.

- Timothy Michael Martin is an abstract painter who, in his reductive paintings, combines diagrams and schematics with oblique pulp sci-fi references. His work comments on the visual codes of modernism and on utopian and dystopian visions of the future.

- Claire Sherwood creates mixed media installations with lace, concrete, wax and coal. These materials are combined to form objects that are paradoxically both decorative and crudely industrial--or both stereotypically masculine and feminine.

- Alessandra Torres is a performance and installation artist. Her AAC project, Figure Study, draws elements from Zen painting and dance; in it, Torres presents flat, jointed, reductively rendered figures mounted on magnets that the viewer is invited to manipulate and reposition at will.

Prediction: Look for Torres, who now lives in NYC, to steal this show. All shows through November 17th, 2007.

Bow Down to Washington

One of the things that people who don't like college cheerleaders in skimpy outfits like about the University of Washington cheerleaders, is that usually when they play at home they are covered in plastic raincoats (over their skimpy outfits).

For decades the Washington Huskies have been a perennial Top 20 team, several times national champions, and generally one of the top two or three universities who send the most players to the professional ranks.

But the Huskies have fallen on rebuilding times over the last few seasons.

And the rebuilding is beginning to show and although I generally do not talk about football in this blog, I wanted to be the first writer on the planet to predict that 19-year-old Washington red shirt quarterback Jake Locker (is that a great quarterback name or what?) will win the Heisman Trophy on his junior or senior year.

What an amazing future Jake Locker has...

Tonight the dogs from Seattle fought the USC Trojans, the best team in the country (and the best for years now), and were a 21 point underdog.

And on a day of upsets, where half of the Top 10 teams lost, where number seven Texas was shoved around and brutalized by Kansas State, number three Oklahoma was upset by Colorado, South Florida (???) embarrassed number five West Virginia, the Testudos of Maryland stunned number ten Rutgers, number 13 Clemson was spanked by Georgia Tech, number 21 Penn State lost to Illinois, number 22 Alabama lost to a once fading Florida State... the Huskies almost pulled out a 21-point underdog win over USC... and the dogs were one fumble away, plus a reversed interception in the end zone that turned into the Trojan winning field goal... from a stunning victory.

Go Huskies and Bow Down to Washington.

Congrats!

To Cara Ober and the gang at Bmore Arts, which has been named "Best Use of Bandwith" in this year's Baltimore City Paper's "Best Of Baltimore."

Well deserved!

Beyond the Margins

Hillyer Art Space at 9 Hillyer Court, NW, in DC will have Beyond the Margins: Selections from Soweto, South Africa opening next week, October 5, 2007, with a reception from 6 p.m. to 8 p.m. and runs through December 14, 2007.

Developed and curated by Martin Britz, President and Founder of the South African Fine Arts Congress, Beyond the Margins represents a body of work from both established and emerging black, South African artists working in the Soweto region outside the city of Johannesburg from 1970 to the present.

Represented in Beyond the Margins are Peter Sibeko, Muzi Donga and Winston Saoli, three of the most eminent painters of the Soweto school. Additional artists featured in the exhibition include: Ben Macala, Eli Kobeli, Speelman Mahlangu, Hargreaves Ntukwana, Godfrey Ndaba, David Mbele, Martin Tose, Leonard Matotso, Sipho Msimango, Solomon Sekhaelelo, Mvemve Jiyane, and Grand Maghandlela.

Giants

A couple of new tiny drawings of two art giants. Each charcoal is about one and a half square inches.

"Man Ray"
Charcoal on Paper. 1.5 by 1.5 inches. 2007
By F. Lennox Campello
In a private collection in Richmond, VA


"Marcel Duchamp"
Charcoal on Paper. 1.5 by 1.5 inches. 2007
By F. Lennox Campello
In a private collection in Richmond, VA

Makes sense

Mike Licht solves the Jacob Lawrence issue. He writes: "You (and Regina Hackett) can assume your readers are familiar with Jacob Lawrence. Jacqueline Trescott can't."

Great point and case closed.

At the Corcoran

This month, the Corcoran opens the photography exhibition Annie Leibovitz: A Photographer’s Life, 1990–2005, as well as Wild Choir: Cinematic Portraits by Jeremy Blake, which features three digital media projects by the late artist.

More interesting to me is their "2007 Alumni Juried Exhibition, Recent Graduates: 2002–2006." That exhibit goes through September 30, 2007, so hurry and go see it. It was juried by Molly Donovan, curator of modern and contemporary art at the National Gallery of Art and it's at the Corcoran's "new" Gallery 31.

Gallery 31 is the Corcoran’s newly dedicated exhibition space for the Corcoran College of Art + Design. The space will host exhibitions by the Corcoran’s faculty, students, alumni, visiting artists, and annual senior thesis exhibitions. Located at the New York Avenue entrance of the Corcoran, Gallery 31 will be open during Gallery hours and will be free to the public.

Come again?

Recently, a respected art collector in Portland, Ore., walked into a local gallery. The owners greeted her warmly, and ushered her to the back room to show off their latest acquisitions. After politely declining several works, the collector chose a $5,500 porcelain sculpture shaped like a basket and covered in tiny, platinum elephants. "She has such a great eye for art," gushed the gallery's co-owner, MaryAnn Deffenbaugh.

The collector, Dakota King, is 9. In a collision of the art boom, the wealth boom and the Baby Einstein approach to parenting, galleries and auction houses around the country report that children who aren't old enough to drive are building collections that include works by Jasper Johns, Andy Warhol, Camille Pissarro and Rembrandt. At Sotheby's in New York, an 11-year-old boy with blond ringlets waved a paddle last fall and successfully bid $352,000 for a Jeff Koons sculpture of a silver gnome. Some teenagers are flipping art for quick profits. A few grade-schoolers are even loaning works to major museums, including Houston's Museum of Fine Arts, a coup for a collector of any age.

[stunned silence follows]...

Read the article by Kelly Crow in the Wall Street Journal here. It is a really, really a well-researched and interesting read by the way.

Day of the Dead

Pencil this date in and come party Day of the Dead style, with art, workshops, altars, music, spoken word, dancing, marigolds and the souls of the departed when Arlington's Art Outlet presents “Ofrenda: Art for the Dead” from 3 p.m. to midnight on Saturday, October 13.

Twenty artists will show their personal altars and offerings, or ofrendas. Workshops will teach kids and adults about the Dia de los Muertos tradition. Details here.

- Day of the Dead Workshop: Sugar Skulls 3 – 5 p.m.
- Mariachi Band 5 – 6 p.m.
- Film Screening by Zulma Aguiar 6:15 - 6:30 p.m.
- Mud Pie 6:30 – 7:30 p.m.
- Flo Anito 8 – 9 p.m.
- Special Guest Appearance by Sarah Lovering 10:30 pm
- Aphrodizia featuring Yoko K. 10 p.m. – Midnight

Artists in the show are: Zulma Aguiar, Michael Auger, Jennifer Beinhacker, Alison Christ, Andrea Collins, Rosemary Feit Covey, Roni Freeman, Jenny Freestone, Vickie Fruehauf, Susan Gardiner, Angela Kleis, Emily Liddle, Rob Lindsay, Bono Mitchell, Thomas Paradis, Marina Reiter, Marina Starkova, Henrik Sundqvist, and Jack Whitsitt.