Muffled thoughts on grants

In the years that I served in the advisory panels for the District of Columbia Commission on the Arts and Humanities, I confirmed an interesting paradox that exists in the world of grant-giving when it comes to individual artists.

Arts organizations are usually registered as non-profit status organizations, and they rely on philanthropy and grants in order to operate - some gather a few thousand dollars each year, other millions.

Meanwhile, individual artists usually have to rely on their paychecks from their non-arts related day jobs, or teach in order to get a reliable source of income, since they are mostly ineligible to get direct financial support from grant-giving organizations because they are not incorporated with the state, city or federal government as a not-for-profit organization.

Although there are notable exceptions, a quick scan of the Foundation Center database reveals that most visual arts focused foundations in the US restrict their arts funding to not-for-profits.

That immediately also reveals a paradoxical disparity in grant giving to the people who create art and the people who put it on walls.

Around the area, DCCAH, the Maryland State Arts Council, the Heinz Endowments and others do offer individual financial grants for artists, but they are some others are the exception, rather than the rule.

And certainly missing is the individual donor, who may hand out millions at once to a museum or arts organization, but seldom sets up an organization (such as Andy Warhol did with Creative Capital) to hand out financial support directly to artists.

Update: As if to underscore my point, I am told that Heinz Endowments no longer gives grants to indovidual artists.

Tony Podesta's Favorite Artwork

Tony and Heather Podesta are two of the top rare ubercollectors from the DC area, and Tony responds to my request for readers' favorite artworks.

Tony writes that his favorite work is an oil painting by Julie Roberts called Teenage Suicide.

Teenage Suicide by Julie Roberts

Congrats!

To one of my favorite DC area artists, Linn Meyers, whose two-person show with Miriam Cabessa opened earlier this month at the Lyons Wier - Ortt Gallery in NYC.

New Art Blog

Bethesda Art Blog is a new colleague on the Greater DC area artblogsphere and they've already delivering much needed art writing focused on Bethesda art galleries.

Here BAB mini-reviews the "Committed" show at Fraser Gallery and then here BAB says good stuff about Fiona Ross in the same show.

And here is a review of Ivan Depena at Heineman Myers.

Wanna go to an opening today?

Then head out to the Greater Reston Arts Center in Reston, VA where from 4-6 pm on Sunday January 13th there will be an opening reception for the exhibition of new works by Anna Fine Foer and Sonya A. Lawyer.

Before the reception at GRACE you can swing by the Reston Community Center at Lake Anne, where from 2-4 PM there will be a reception for the paintings and prints of Ann Barbieri, Cora Rupp, Dana Scheurer, and Connie Slack.

And later this week, on January 17 you can join me at GRACE for a talk on contemporary art. Details here.

National Defense

"National Defense Test" Watercolor on Paper, c. 1999, 3 x 8 inches
By F. Lennox Campello

This preparatory painting was done in preparation for a painting exhibited in 2000 at the "Strictly Painting III" Exhibition at the McLean Project for the Arts in McLean, Virginia. The exhibition was curated by Terrie Sultan, then Curator of Contemporary Art, Corcoran Gallery of Art, Washington, DC.

This original watercolor is available at Color Invitations currently on exhibition at the R Street Gallery. Call (202) 588-1701 if you want to purchase this painting ahead of the opening, which will be on January 16 from 6-8PM.

Blogger Show Reviews

The Blogger Show in Pittsburgh and New York has been getting quite a few reviews both in the printed press and the artblogsphere. The show closes today.

In the spirit of me, I wanted to point out the nice things that the Pittsburgh City Paper's Lissa Brennan wrote about this blog.

Annapolis and the Trouble with Resort Galleries

I'll have a few words to say about "art auctions" on cruise ships when I return to serious blogging, but meanwhile the below piece by Shauna Lee Lange seems to be in the same touristy vein...

Annapolis and the Trouble with Resort Galleries
By Shauna Lee Lange

If you've been around art for any length of time, then you know that the commercial availability of art can become regionalized. Meaning, that what sells in Paducah may not sell in Santa Monica, and that artists who like working locally usually sell locally.

Art regionalism also means that people in St. Thomas are generally buying works featuring marine life, sunny skies, and bright and happy colors (for the most part) while people in Vail are buying snowscapes, tree lines, and other cold weather art.

There's a whole theory and science to how people live geographically and how vacation homes (second and third homes) in resort communities have a very different art purchasing base.

So it is very important to get out to these resort and rural areas and look around to see what's new in different parts of the country - and this is why some of the larger art shows are so popular. One can see what's hot in New York, Florida, and London all in one venue without having to travel. In large metropolitan areas, inventory tends to change fairly rapidly, but in smaller, rural towns, art inventory can have a longer wall life - and this is one way that an arts advisory, or the general public, can learn which artists have staying power in which communities and why.

Recently I decided to visit Annapolis, and although Annapolis, Maryland is not very far from my desk (over 25 miles - less than 50), Annapolis has the benefit of being both a resort community and a seaside community with a big boom in summer and a huge focus on marine art.

Now, as many of you may know, I'm originally from Rhode Island and spent a great deal of time in Newport, Rhode Island - arguably a comparable community. The trouble with resort galleries, particularly right after Christmas on a very slow Monday, is that they're closed. Or they're closing. Or they have relocated, or they're only open on a Tuesday when the moon is blue, or the gallery attendant is a bored college student on winter break.

It's frustrating to hear gallery owners lament about the difficulties of managing gallery overhead (and all the associated costs of insurance, shipping, contracts, etc.) when they have store hours of 10 - 2 or when they're only open on the weekends.

As an arts advisory service firm, Shauna Lee Lange and Company work far more than we should - developing leads, answering questions, helping people connect, exploring calls for submissions, researching art purchases - the list goes on. This is not a good thing, always to be pushing and working, but it is difficult from our perspective to understand how an art gallery can close its doors to the public it serves or the artists it represents.

And frustrating too, is that some of these spaces and curators and owners are very high quality. Certainly, January is a far cry from June, but when did it happen that art buyers only bought in June? The day that we visited was a glorious sunshiny, warm, spring-like day and Main Street Annapolis seemed dismal in comparison. Many spaces were for lease or rent - alarming so - even shops that have been in business for some time. Is this a condition of the economy? Is it normal turn-around for post-season stores? Or does the unavailability of art galleries speak to a larger causality, the growth of Internet galleries, the reduction of pedestrian traffic due to technology, or the cavalier approach some long-term gallery owners may have adopted along the way?

Most of the gallery owners we know do it because they love it and they're good at it. They live, eat, and breathe art. And we have to wonder in Annapolis, where is everyone?

It'll take a few months to see how Annapolis fares through changes it is facing with Main Street development along with many other communities in similar situations. We wanted to share some first hand impressions, a few photos of sights we saw along the way today, and a heart-felt plea to open your doors.

Back on Land

Back safe and sound, with the cleanest hands on Earth after one terrific vacation at sea... have almost 1,000 emails to catch up on, so posting will be fast and furious over the next few days, but today I've got to watch the Seahawks beat the odds against the Packers.

Back later with tons of pics and movies and loads of announcements and discussions...

Haze Gray and Underway

I'm outta here until 12 January... I'll be out at sea on a Caribbean cruise, sans computer and sans cell phone. Tomorrow is Three King's Day, which is the "actual" gift-giving day in most of the Christian world... and I scored a GIANT self-gift for my book collection of modern first editions as I've just got a super sweetheart of a deal on over 200 books, most of them signed, from an area book dealer going out of business after many years! One knows it is a great deal when a confidentiality agreement is part of the deal!

If I get the blogging DT's, I may slip into the dollar-per-minute Internet cafe at sea and blog something here and there, but until then, blogging will be sparse, email checking will be non-existent, the house is being guarded by a really mean house-sitter, and I'll be back on January 12 with a ton of stuff to catch up on, so y'all come back now!

Earlier tonight I dropped by the Rodger LaPelle Gallery in Philly to visit Andrew Wodzianski's second solo at that space in as many years. On view he must have had around 80 new mixed media works from his oddly mesmerizing (and radical departure) new series. I think these new works will go a long way for AW.

Meanwhile I leave you with this image of the Multinational Peacekeeping Force Medal for Service in Cuba.



Multinational Peacekeeping Force Medal for Service in Cuba
Oil on Gessoed Paper. 12 x 36 inches. 2007
By F. Lennox Campello
A ribbon for the future envisioned medal which will be awarded to the service men and women of various nations for participation in the future peacekeeping operations that will be required in Cuba once Castro dies and the prison island begins to descend into chaos.

Original oil available starting January 10, 2008 at Color Invitations. Call (202) 588-1701 if you want to purchase the painting ahead of the opening. I am still designing the medal itself.

And, Who Are You?

Part One


Part Two


Part Three


Part Four

Where did they look?

"they couldn't find a Native artist who did formal portrait sittings like this."

James V. Grimaldi reports in the WaPo that W. Richard West Jr., the founding director of the Smithsonian's National Museum of the American Indian, spent $48,500 in museum funds to commission a portrait of himself. Asides from the sensationalistic issue being made about the cost of the portrait - always try to minimize the value of the visual arts - what caught my eyes was this statement:

The portrait of West by New York artist Burton Silverman hangs in the patrons' lounge on the fourth floor of the flagship museum, which is dedicated to the arts and culture of American Indians. Silverman said West picked him after he saw a portrait Silverman had done of former Smithsonian secretary Robert McCormick Adams. The Adams portrait, completed about a decade earlier, was smaller and cost about half as much.

Silverman, of Polish descent, was chosen, said Smithsonian spokeswoman Linda St. Thomas, after "they couldn't find a Native artist who did formal portrait sittings like this."

What!

What!

What!

Are you fucking pulling my leg?

I'm not even remotely a fucking expert on Native American artists, but off the top of my head I can think of a couple of DC area and former DC area Native American artists who are (among other things) excellent portrait artists. One of them, Michael Clark has made a worlwide reputation for his obsessive portraiture of George Washington, and he has also done dozens and dozens of portraits of JFK, Jefferson, Jackie O and many, many portraits. He's in the collection of a couple of DC area museums I believe.

His brother Mark (who I think used to work for the Smithsonian for God's sakes) is also a superb artist, a brilliant trompe l'oeil painter and has done many hyper-realistic portraits as well!

They're both of Native American descent.

But we all know by now that most DC area museum curators ignore their own backyard. But couldn't one just pick up a phone and call some art galleries in Santa Fe or Sedona?

Or use the web? So just for fun let's see if we can Google some Native American portrait painters:

Mike Larsen.

Johnny Lee.

Mary Anne Caibaiosai.

Karen Clarkson

Reno Moreno.

OK... some are better than others, but if in less that five minutes I can come up with half a dozen Native American artists who appear to be portrait artists, including one - Mike Larsen - a Chickasaw portrait artist who was named the 2006 Oklahoman of the Year!

Note to Kevin Gover, who took over as the Indian Museum's director early last month: when it's time for your portrait and you're looking for a Native American portrait painter: call me!

Or learn to use Google.

Cuban Hall of Fame

In Rockville, Maryland there's an excellent Cuban restaurant called "Cuban Corner." As far as my palate is concerned, this is the best and most authentic Cuban restaurant in the Greater Washington, DC area. They are at 825 Hungerford Drive, near Ivy League Lane, Rockville, MD, 301-279-0310. Essentially on a strip mall right on Rockville Pike.

The food is authentic, affordable and plentiful (see the menu here). My favorite dish there is "Ropa Vieja," although the "Vaca Frita" is also superb. Either of those dishes, with a side of yucca con mojo or tostones, will delight your mouth and belly.

A visit to Cuban corner also delivers the interesting spectacle of the restaurant's Cuban Hall of Fame... or as they call it: The Wall.



The Cuban Hall of Fame, as determined by Joaquin Cabrejas, the restaurant's feisty owner, is composed of Cubans, Cuban-Americans, and people of traceable Cuban ancestry, and is made up of hundreds of name plaques glued to the restaurant's walls.

Some potential surprises to non Cubans (and even to some Cubans):

- Angela Anais Juana Antolina Rosa Edelmira Nin y Culmell - otherwise known as Anais Nin, one of the 20th century's sexual goddesses nymphomaniacs (and a damned good writer as well!).

- Amazon's creator Jeff Bezos.

- Benjamin Huberman, Science Adviser to several American presidents.

- Truman Capote (by adoption)... took the last name of his adopted dad. Capote in Spanish is a large cape or the hood of a car.

- Ysrael A. Seinuk, the "father of the modern New York skyline."

- Eamon de Valera: The father of the modern Irish republic was Eamon de Valera, who was born in New York in 1882. His father, Juan de Valera, although technically on paper always reported as a Spaniard, was really a Cuban, born in Cuba (which was part of Spain back then), the son of a Cuban sugar planter and escaped to New York during the Independence Wars with Spain. There he earned his living as a piano teacher. He met and married Irish immigrant Catherine Coll. Juan died shortly after the birth of their son Eduardo. After Juan's death, his wife sent Eduardo to Ireland, where her family changed his name to the Gaelic version of Eduardo: Eamon.

- Cameron Diaz... we all know who she is.

- Dr. Steve Pieczenik, author of 39 books, including 16 bestsellers. He is critically acclaimed author of psycho-political thrillers and the co-creator of the New York Times best-selling "Tom Clancy's Op-Center" and "Tom Clancy's Net Force" book series. He is also one of the world's most experienced international crisis managers and hostage negotiators.

- Olga Viso, the Hirshhorn Museum's former director and now director of the Walker Art Center.

- The Joker... I mean Cesar Romero.

Ambrosio José Gonzales, this Cuban Confederate Colonel played a significant role in the Civil War and was essentially responsible for building Confederate coastal defenses. He had his finest hour during the Civil War as the artillery commander at the Battle of Honey Hill.

Cubanos todos de alguna manera!

Iranian Campaign Medal

"Iranian Campaign Medal", Oil on Canvas, 24 x 48 inches, c.2007
By F. Lennox Campello (from the Digitalia series)

A ribbon for the future envisioned medal which will be awarded to US service men and women for participation in the future campaign in Iran. Original oil available starting January 10, 2008 at Color Invitations. Call (202) 588-1701 if you want to purchase the painting ahead of the opening. I am still designing the medal itself.

15 for Philip

In the words of co-curators Linda Hesh and Ian Jehle, "Philip Barlow is an unmistakable fixture of the D.C. arts community as a collector, curator, and overall arts benefactor. A quick scan of almost any arts event in Washington will find Philip, at 6'4" - usually head and shoulders above the crowd - somewhere in the room."

True to the last word! Barlow is without a doubt one of the elements that make the DC art scene one of the most vibrant in the nation. He is a key element in the nation's capital art tapestry and an inspiration and goal for others.

15 for Philip: Fifteen Artists Look at Arts Patron Philip Barlow opens at Curator's Office in DC on Saturday, January 12, from 6 - 8 pm and runs through Feb. 16, 2008 and promises to be one of the most interesting looks at one of the District's most towering art scen figures.

Rob Parrish, 252 Works of Art Owned by Philip Barlow
The exhibition includes works in a range of media by this city's emerging and established artists including Colby Caldwell, Kathryn Cornelius, Joseph Dumbacher and John Dumbacher, Nekisha Durrett, Alberto Gaitán, Max Hirshfeld, Linda Hesh, James Huckenpahler, Ian Jehle, Amanda Kleinman, Al Miner, Rob Parrish, Eric Powell, Robin Rose, and Jeff Spaulding.

Trekkie Sues Christie's

Hee, hee... you gotta read this.

Brent Spiner as Mr. Data

Zulma Aguiar Favorite Artwork

Zulma Aguiar is at the leading edge of a new wave of electronic art talent now beginning to establish itself as the 21st century approaches the end of its first decade. And Zulma responds to my call for readers' favorite artwork. She writes:

Indigurrito by Nao Bustamante

Its a performance art piece where she strapped-on a burrito to her loins and called for white men to come up on stage, take a bite out of the burrito and absolve themselves of 500 years of the white man's guilt.

There was no shortage of enobled participants, who knelt in front of the protuding offering, some taking delicate bites, others deep-throated chunks.

Bustmante was quoted as saying, "This year I was told any artist of color must complete a performance based on 500 years of oppression in order to get funding."

Indigurrito Performance by Nao Bustamante

Happy New Year's

From the snowy Poconos: I hope that 2008 bring all of you loads of good and positive things.

2008 will be a super busy and interesting year for me. In addition to several art fairs where I will be participating, I will be also curating four exhibitions for four separate art venues in the Greater Washington, DC area, as well as potentially working a seminal project with a major gallery in London, plus having at least one solo show of my own work in Virginia later this year, plus several speaking engagements throughout the Mid Atlantic.

For me 2008 starts with "Color Invitations" at the new R Street Gallery in Washington, DC.

A while back the gallery's owner approached me, interested in exhibiting my newly revived interest in painting with a series of works based on my military decorations - a series that I started back in 1999-2000 as detailed here.

Because of the fact that these works have been selling quite briskly, and due to the timeline of the proposed exhibition, I declined the opportunity for the solo, as I didn't have enough works for it, and instead proposed to I curate a show for the gallery centered around a concept of artists working issues of color, texture, and some diverging from the type of work which they had been doing in order to explore color.

And thus on January 10, with an opening reception for the artists on January 16, 2008 from 6-8PM, the exhibition "Color Invitations" opens at the R Street Gallery with new work by Maggie Michael, Jeffry Cudlin, Amy Lin, Andrew Wodzianski (who also has a solo show opening at the Rodger Lapelle Gallery in Philadelphia this coming Friday, January 4, 2008), John Blee, Steve Lapin and myself.

On exhibition I will have some preparatory watercolors that I did in 1999-2000 in preparation for this this show at the McLean Project for the Arts, as well as a brand new painting from the series.

Expeditionary Service Medal, Watercolor on Paper, c. 1999
2.25 x 7.5 inches by F. Lennox Campello
The paintings themselves have shifted slightly in focus and technique. While the first few ones were essentially exploded pixillated huge oils of my Navy ribbons and medals, the new works "invent" new decorations and medals for imaginary, or predicted new military campaigns, perhaps as dreamed about, or envisioned by our political leaders in our nation's future, and as shaped by a visionary perspective on world events.

And thus at R Street Gallery, in addition to the prep work for the earlier pieces done circa 1999-2000, there will be a new oil painting depicting the "Iranian Campaign Medal," which will be awarded to American sailors, Marines, soldiers, airmen and Coast Guard personnel for participation in the future military campaign in Iran.

A second new oil painting on gessoed paper titled "Multinational Peacekeeping Force Medal for Service in Cuba," depicts the ribbon for the United Nations medal to be awarded to military and naval personnel who will be taking part in the peacekeeping occupation of Cuba as directed by the United Nations as that Caribbean island descends into chaos in a post Fidel Castro era.

The latter is part of my proposal package for a Cintas Foundation grant package that I submitted a few months ago, in which I propose to create a dozen new paintings, all depicting future campaign medals and ribbons associated with the imminent arising issue of the mess that is certainly to drag the US and the UN into Cuba once the brutal Galician dictator finally dies and his alcoholic brother fails to institutionalize a familial dictatorship in the style of Haiti's Papa Doc Duvalier or North Korea's Kim Il-Sung.

So pencil in January 16, from 6-8PM and come by the R Street Gallery, located at 2108 R Street (second floor), NW Washington, DC in the Dupont Circle gallery cluster.

The Power of the Web

A while back I put out a fun request as a call for this blog readers' favorite artworks, based on an idea triggered by the Washington Post's art critic Michael O'Sullivan's "Conversation Pieces" in which he listed some A-list folks' favorite art in the Greater DC area.

Since then I have been slowly but surely publishing them -- to those who have sent them in: patience! I am way behind and on holiday in the mountains.

And today I received an email from a publishing house interested in pursuing the effort in a book form, with an expanded format to be discussed!

I will be mulling that idea for a while, as I have a super busy January coming down the pike, but I am pretty sure that I will do the project if I can fit it into what's already looming as a super-busy 2008 for me.

Is that great or what?

More later...

Martin Irvine's Favorite Artwork

DC area gallerist Martin Irvine quickly established Irvine Contemporary as one of the leading Mid Atlantic art galleries and has led the way in bringing the super hot Chinese art to the DC region. He responds to my call for readers' favorite artworks and writes:

I was just in the NGA-East and was impressed by the nice little suite of works they have up from 1962, the turning point year in pop. I love Andy Warhol’s “200 Campbells Soup Cans” (1962): it’s entirely hand painted with some cut stencil work, and made before the now iconic soup cans from silk screens. Andy started silkscreening in 1963 after learning it from Gerard Malanga. The 200 hand painted soup can painting on canvas seems even more subversive because he made a painting that looks commercially made, a repetitive series of logos and product graphic design ubiquitous in every supermarket, but rendered back into a painting made by hand. The outrageousness of that — in 1962!

200 Campbell’s Soup Cans, (detail) 1962 (Acrylic on canvas, 72 inches x 100 inches), by Andy Warhol