Art Job: Curator

The Robert Hull Fleming Museum in Vermont is looking to hire a curator. He or she will oversee curatorial operations of the University of Vermont's Fleming Museum, exhibition development, and management of permanent collection, including oversight of building security and environmental systems. Provide supervision of Exhibition Designer/Preparator and work closely with Manager of Collections and Exhibitions.

Requirements include Master's Degree in art history or related field and two years museum experience, curatorial and broad art historical competence, and specialization in an area represented in the Museum's collection, or an equivalent combination.

For further information on this position, #032038, or to apply with electronic application, resume, cover letter and reference contact information, please visit
their web site.

Funding for DC Artists

Deadline: February 1, 2008, 7:00 pm.

The Young Artist Program offers funding between $2,500: up to $3,500 to emerging artists between the ages of 18 and 30. Funds are granted in two categories: Young emerging Artist Grant Program and Young Artist Community Service Program. This grant is normally offered once a year, but the Commission is offering a second deadline because additional funds are available. Young Artist Program workshops will be held at the DC Arts Commission at 1371 Harvard St. NW, Washington, DC 20009 to assist individuals and organizations in preparing applications. All applicants are strongly encouraged to attend a workshop prior to submitting a proposal. No prior reservations are required to attend workshops. Grant Workshops: Thursday, January 10th- 6:00-7:30 PM. Wednesday, January 16th- 12-1:30 PM.

Contact: sherry.schwechten@dc.gov. or visit DCCAH's website to download an application.

Small Projects Program Grant FY08

Deadline: February 27, 2008, 7:00 p.m. and Wednesday, April 9, 2008, 7:00 p.m.

Small Projects Program offers grants to individual artists and arts organizations for small-scale arts projects with budgets under $3,000. Staff Contact: Ebony Blanks. All DC Arts Commission grant applications can be downloaded at DCCAH's website or, call (202) 724-5613 to request that a copy be mailed to you. While visiting the website, they also recommend that you review the Guide to Grants for more detailed information about grant programs and requirements.

Black Matter

Zenith Gallery, which is celebrating its 30 year anniversary (which in gallery years is around 200 years), has an interesting exhibition coming up at its alternative art space: Black Matter.

On exhibition through March 16, 2008 there will be three-dimensional mixed media and sculpture by Washington area artists from the Black Artists of DC Collective: Akili Ron Anderson, Ann Bouie, James Brown, Terry deBardelaben, Lillian Thomas Burwell, Cheryl Derricotte, Julee Dickerson-Thompson, Aziza Gibson-Hunter, Thomas Gomillion, Francine Haskins, Gloria Kirk, Serinity Knight, Harlee Little, Juliette Madison, Chris Malone, Uzike Nelson, Chris Randolph, Cynthia Sands.

The Alternative Gallery Space at:
1111 Pennsylvania Avenue NW
Washington, DC 20004
Open Weekdays 8am – 7pm Daily
Saturdays and Sundays, appointment only, Call 202-783-2963

Meet the Artists: Thursday, January 31, 5:30-8:30pm

Wanna go to an opening in DC tomorrow?

By now you should all know that the place to be is at the new R Street Gallery, located on the upper level of 2108 R St. NW Washington DC 20008, Tel: (202)588-1701.

Starting at 6PM there is a reception for "Color Invitations," a group show of several key DC area artists working the focus of color as a key ingredient of their work. There willnew work by Maggie Michael, Jeffry Cudlin, Amy Lin, Andrew Wodzianski, John Blee, Steve Lapin and myself. The show opened on the 10th, but the reception is tomorrow. It runs through February 4, 2008.


I will also be exhibiting two new paintings from the "Digitalia" series as well as some of the prep watercolors done for the original works from 1999-2000 that started the series. Details here.

Come by and say hi.

Malik Lloyd's Favorite Artwork

Malik Lloyd is one of the key members of the DC area art scene and definately one of the area's online information innovators. He is the Founder and Publisher of the FIND ART information bank, the winner of the Washington Area Lawyers for the Arts 1998 Rising Star Award, the winner of the District of Columbia 2000 Mayor's Art Award: Innovation in the Arts, and also has been nominated for Excellence in Service to the Arts, DC's Mayor's Art Award and also nominated for Outstanding Contribution to Arts Education, also for DC's Mayor's Art Award. Malik responds to my request for readers' favorite artworks.

Lloyd writes:

That is a very tough question, since my favorite changes with the mood that I'm in. However, Henri Rousseau's "The Dream," is the one that I would select today. When viewing it at the NGA a couple of years back, I could not keep my eyes off it. It is tranquil, surreal, mysterious and romantic - qualities that I usually try to capture in my artwork and in life; located at the Museum of Modern Art, New York

Dali would be a close second on my list. He is like the exciting place that you love to visit, but would not want to live there.

Henri Rousseau, The Dream, c.1910

Cavanaugh on DC area masterpieces

DCist's Amy Cavanaugh has the first in a new series exploring some of the paintings, sculptures and other works that are always on display in D.C. Read her first post here.

Art with a Twist

On January 17, from 7:30-9pm I will be doing a special presentation at the Greater Reston Arts Center in Reston, Virginia as part of their continuing education programs.

Space is limited and reservations are requested. Call 730.471.9242. Details here.

I will be doing a quick and fun walk through art history, all leading to contemporary art, where I will be discussing the work of some well known art superstars and also some Greater DC area artists.

Martinis are also involved.

Venus of Willendorf, c. 24,000–22,000 BC

The Power of the Web

One of the things that good art blogs can do, provided that the blogger is not lazy or seduced by the power of disseminating information, is to tell readers about good art shows that take place in alternative art venues that are usually ignored by the printed media.

And I have been hearing good things about the exhibition that Boston Properties, Inc., and Jean Efron Art Consultants LLC, have mounted in the lobby of 505 9th Street, NW in DC. The exhibition is open to the public during building lobby hours, Monday through Friday, 8:00 am to 7:00 pm. now through April 10, 2008

On exhibition are new encaustic paintings by West Coast artist Betsy Eby. Encaustic painting is a really harsh and difficult process that usually brings to my mind the works of the very talented DC area artist Pat Goslee, whose works I once regrettably described as "vaginalism."

Silent Voice Speaking: Hey! Look at this!

By the way... Goslee has an ass-kicking website that's an example to artists everywhere.

Phil Nesmith - My Baghdad: Photographs

Someone whose opinion I respect very much called me the other day to chat about things and then he told me that had attended the opening at Irvine Contemporary in DC for Phil Nesmith - My Baghdad: Photographs.

"Lenny," he said, "this is an amazing show, you gotta write something about it!"

The exhibition is a series of photographs shot in Baghdad and produced on glass plates using a dry plate ambrotype process. A set of editioned C-print enlargements from the glass plates accompanies the unique images in the exhibition, which goes through Feb. 17, 2008.

Phil Nesmith, MH47, 2007. Dryplate ambrotype
(sandarac varnished silver emulsion on black glass). 8 X 12 inches

This is what the photographer wrote about the works:

In 2003, soon after the fall of Baghdad, I began a year long stint in Iraq. The novelty of the experience wore off soon after arrival, and my days in Baghdad seemed to repeat themselves, like a film looped to play continuously, returning to the start the moment after it ends. The repetition created routine, the routine normalizing what would otherwise be extraordinary.

This normative process was one that I was both aware of and oblivious to, and was one that I realized was itself a repetition of what my father had gone through as a soldier in Vietnam. I started to become conscious that the daily existence of the soldiers around me, while surrounded by different, new technologies and capabilities, still maintained a surprising similarity to the life of soldiers on the battlefield in Vietnam or anywhere, going back centuries. The routine of life in a war zone this week would be recognized by soldiers from World War II, from the Spanish American War, or from the American Civil War.

Since returning from Iraq I have sought to find a way to evoke this sense of historical telescoping and the echoes of social memory in my work. I became interested in early photographic processes, and saw within them a way of creating a visceral connection between the contemporary and the historic, utilizing an old process to capture a new conflict. These images also blur the boundaries of photographic processes as well by mixing the cutting edge digital technology used to capture the image and a combination of nineteenth century techniques to bring the image to life.

Having served in several war zones during my time in the US Navy, I know what he means. And seeing that helicopter brought back memories of a helicopter crash at sea on a flight from Beirut to Larnaca, Cyprus that is a story for another day and reminded me what a lucky man I am.

See the photographs here

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