Wanna go to a gallery opening tomorrow?
Thursday, October 22, 2009
Wednesday, October 21, 2009
Who will win $150K tomorrow? Not an emerging artist...
The new Jack Wolgin International Competition in the Fine Arts, at $150,000, is the largest juried prize in the world, and it is supposed to go to an individual emerging visual artist.
Philadelphia banker and real estate mogul Jack Wolgin is a very generous man who wants the prize to be awarded annually, and he wanted it to be "intended for an artist who has not yet received widespread recognition outside of the art world and whose work breaks new ground by crossing traditional boundaries."
Words count. When I first announced the establishment of this new art prize in this blog back in 2008, I wrote:
This is great news for visual artists all over the world and even greater good news for the Philadelphia art scene. I will immediately comment that I am hoping that their selection panel will have the cojones to look truly to nominate artists at "a critical professional juncture" and not just xerox out a bunch of names of the usual suspects.Wishful thinking on my part!
I remember fondly the days when museums like the Whitney and others would take chances on "new" artists, and as a result in the 80s they would give artists their first museum show ever (from memory I think both Fischl and Schnabel got their very first museum show, both while in their 30s, at the Whitney).
The days when museum curators want to be "first" are long gone, and seldom do we see a major museum take a chance with a "first" anymore. The same lack of cojones seems to have infected the major art prizes of the world, and I for one hope that Tyler and its selection jury get some brass into their system and make a statement with this new and generous prize.
The initial award set of jurors picked to award Mr. Wolgin's money: Ingrid Schaffner, Senior curator at Philadelphia’s Institute for Contemporary Art, Paolo Colombo, adviser to the Istanbul Museum of Modern Art, and Melissa Chiu, director of the Asia Society in New York, have all taken the expected lazy interpretation of the focus of the competition and have selected Ryan Trecartin, Sanford Biggers, and Michael Rakowitz from a larger pool of only 14 nominees.
The nominees were selected by "a group of nine prominent international art world figures from museums and educational organizations, representing the range of media eligible for consideration. The 14 nominees were then invited to submit an application, which was reviewed by the three-person jury."
Ryan Trecartin, Sanford Biggers, and Michael Rakowitz are all terrific and highly accomplished artists, but in my opinion are all artists who have exhibited far too widely (I think that by the time you get to exhibit in London's Whitechapel alongside Shahryar Nashat, you're waaaay past emerging) and are too well known to fit into the category envisioned by Mr. Wolgin.Remember this prize is supposed to go to "emerging artists."
"There was a great deal of discussion about the term ‘emerging artist,’ ” said Ingrid Schaffner, referring to the competition’s main criteria. But after the lazy jurors had defined their terms, she admitted that they “surprised everyone by coming to a consensus fairly quickly.”
Very lazily if you ask me. I hope that Temple University’s Tyler School of Arts, who hosts the prize, is as pissed off at paying jurors that don't do the expected work, and that Temple has learned a very valuable lesson from this initial go around and realizes that seldom does a museum curator or an advisor to any museum (whatever that is?) is really at the leading edge of knowing who is really an "emerging artist."
In fact, one of the criteria if a museum curator is ever selected for the jury pool again should be: "Have you ever given an artist his/her first museum show?" And maybe even: "How many artists' studios have you visited in the last five years"?
Back in the 80s museums such as the Whitney in NYC used to give artists their first ever museum show. That was the last time that most museum curators actually were deep in the weeds of who was really an emerging artist.
Let's hope that this outrageous failure to focus Mr. Wolgin's initial prize money on the intended pool of emerging artist recipients will put this generous prize back on its intended path. And 2010 jurors, the intended recipients are supposed to be emerging fucking artists!"
The three finalists' work is on view at at the Temple Gallery through Oct. 31, 2009. The prize will be announced tomorrow; personally I am rooting for Ryan, so that at least the $150K loot stays in Philly.
My hopes for 2010 remain grim. Unless Temple learns this lesson, this $150K will continue to go to the usual suspects because it takes a lot of work to do the job right.
How hard? An independent survey sponsored by The International Art Materials Trade Association (NAMTA) and American Artist magazine recently reported that there are 4.4 million active artists in the United States alone (600,000 professional artists, 600,000 college art students, and 3.2 million active recreational artists). That's a lot of artists, 99.9999999999999999% of whom are emerging artists, and at least 16 of them (more than 14 anyway) I bet are breaking "new ground by crossing traditional boundaries."
I hope that Mr. Wolgin is as pissed off as I am; I intend to mail him a hard copy of this post, and then call him, and I hope that he then picks up the phone and tells Temple to get their act right with his prize money in 2010.
Shame on you Ingrid Schaffner, Paolo Colombo, and Melissa Chiu.
Tuesday, October 20, 2009
WPA Announces New Program
WPA has announced Information Exchange, an informal partnership with the International Studio and Curatorial Program in Brooklyn, NY.
WPA will bring international curators to Washington to discuss ideas and projects in a public forum, followed by a day of one-on-one critiques or portfolio reviews with WPA member artists. The goal of the program is to expose artists and curators to each other's work, spurring new and continuing conversations, ideas, relationships, and projects which will carry on long after the initial exchange. WPA will launch the program's pilot season with a visit by Miguel Amado of Portugal.
Miguel Amado is curator at the Fundação PLMJ in Lisbon, where he develops a collection of Portuguese contemporary art and organizes its exhibition and publication series. Recently, he served as a Curatorial Fellow at Rhizome at the New Museum in New York. Miguel is an adjunct curator at the Centro de Artes Visual in Coimbra, Portugal, where he organizes its Project Room exhibition series and special projects. He is a regular contributor to Artforum and his critical writing has also appeared in magazines such as Flash Art and numerous books and catalogues.
Admission to the public talk is free and open to the public
Artist Meetings at WPA offices Friday, November 13:
Artists who wish to meet with Miguel must email membership director Adam Griffiths at agriffiths@wpadc.org by November 9. They will randomly select 6 artists from email requests. Artists should bring no more than 5-10 CURRENT samples of work to discuss with Miguel.
Artist-Curator meetings will last between 30 and 45 minutes and will begin on the hour starting at 10:00 am. If artists have a preferred meeting time, please note in the email along with a phone number.
Information Exchange
Public Talk: Thursday, November 12, 6:30 – 8:00pm
Artist Meetings: Friday, November 13, starting at 10:00am
Location of events: WPA, 2023 Massachusetts Ave, NW, WDC 20036
Monday, October 19, 2009
Outwin Boochever Portrait Competition 2009
This week the National Portrait Gallery will announce the winners of the Outwin Boochever Portrait Competition 2009 at an opening reception taking place on the evening of Oct. 22. The exhibition will open to the public Friday, Oct. 23 and will remain on view through August 22, 2010.
The show has been juried from 3,300 entries, down to 49 finalists from around the country. Of those 49, seven have been selected for the short list of cash prizes. The top award will win $25,000 as well as a separate commission from the Portrait Gallery. (In May, the museum unveiled Mrs. Eunice Kennedy Shriver’s portrait by David Lenz, Lenz won first prize in 2006). The exhibition will display the works of the 49 finalists.
“The second Outwin Boochever Portrait Competition represents a significant milestone for the National Portrait Gallery,” said Martin Sullivan, director of the museum. “We opened the entries to all visual arts media and received a wonderful response.”
The competition happens only once every three years and demonstrates the new ways artists are working with the figure and creating portraits. External jurors for the competition were Wanda M. Corn, professor emerita in art history at Stanford University; Kerry James Marshall, artist; Brian O’Doherty, artist and critic; and Peter Schjeldahl, art critic for The New Yorker. Jurors from the National Portrait Gallery were Martin E. Sullivan, director; Carolyn K. Carr, deputy director and chief curator; and Brandon Brame Fortune, curator of painting and sculpture.
Portrait Competition Finalists and Shortlisted Artists (the asterisk denotes the artists on the shortlist):
Mequitta Ahuja, Houston
Jason Shaw Alexander, Los Angeles
Jen Bandini, Queens, N.Y.
Margaret Bowland, Brooklyn, N.Y.*
Benita Carr, Atlanta
Laura Chasman, Roslindale, Mass.
Mark Cummings, Newport Beach, Calif.
Yolanda del Amo, Brooklyn, N.Y.*
Armando Dominguez, Miami
Jenny Dubnau, Jackson Heights, N.Y.
Daniel Mark Duffy, Newtown, Conn.
David Eichenberg, Toledo, Ohio
Gaela Erwin, Louisville, Ky.*
Chambliss Giobbi, New York
David Gracie, Omaha, Neb.
Leor Grady, New York
Anne Harris, Riverside, Ill.
Patricia Horing, Larchmont, N.Y.
Kate Sammons, Los Angeles
Philip Schirmer, Sargentville, Maine
Justin Shaw, Lincoln, Neb.
Satomi Shirai, Astoria, N.Y.
Michael A. Smith, Ottsville, Pa.
Ben Tolman, Washington, D.C.
Jim Torok, Brooklyn, N.Y.
Anna Killian, Pensacola, Fla.
Erika Larsen, Hoboken, N.J.
David Dodge Lewis, Farmville, Va.
Lisa Lindvay, Chicago
Francesco Lombardo, Marshall, N.C.
Perin Mahler, Grand Rapids, Mich.
John Manion, Brooklyn, N.Y.
Bruce McKaig, Washington, D.C.
Pavel Melecky, Arlington, Texas
Sam Messer, Brooklyn, N.Y.
Paul Mindell, Norwalk, Conn.
Matthew Mitchell, Amherst, Mass.
Samantha Mitchell, New York
Austin Parkhill, Arvada, Colo.
Sonia Paulino, Los Angeles
Cliffton Peacock, Charleston, S.C.
Stanley Rayfield, Richmond, Va.*
Emil Robinson, Cincinnati*
Margaret Trezevant, Tampa, Fla.
Lien Truong, Eureka, Calif.
Clarissa Payne Uvegi, New York
Adam Vinson, Jenkintown, Pa.*
Dave Woody, Fort Collins, Colo.*
John Randall Younger, Charlottesville, Va.
I am familiar with the work of the two DC area artists on the list, Ben Tolman and Bruce McKaig. In fact, both of them have exhibited at the Fraser Gallery back in the days when I was a co-owner of those two galleries.
Seeking the scent of a white cube
As I mentioned a while back, we have moved back to the Greater DC area and thus once again I can refer to myself (as The Artists' Blue Book does) as a "active" in the District of Columbia.
So now I would like to re-acquire a local DC gallery to represent my work in the Greater DC area. I already have gallery representation in Philadelphia, PA, Richmond, VA and Norfolk, VA, but the vast majority of my collectors are in the Greater DC area, so it makes sense to re-establish a DC area gallery connection.
Since I moved to the DC area in 1992, away in 2006 and back in 2009, I've had a dozen solo shows (Annapolis, DC and Richmond) in the area, the vast majority of which have sold well or sold out plus have received extensive press coverage from the Washington Post, the Washington Times, the Washington City Paper, the Richmond Style Weekly, the Georgetowner, etc. My work gets the press' attention in one way or the other, even if it is to be described as "heavy-handed and irritating", as the Washington Post once did!
My work has also done well in art fairs in New York, Miami, Toronto and Santa Fe in the last few years. In fact, in my last NYC art fair earlier this year I sold about 20 drawings. At Art Santa Fe, which was a really tough fair because of the economy, and with many galleries not selling anything, my work was the only one that sold at the fair by the gallery that took it there.
So I need and want a gallery in the Greater DC area. If you are a gallerist and interested, drop me an email to lenny@lennycampello.com and let's talk.
Sunday, October 18, 2009
Saturday, October 17, 2009
Quite contrary
Shepard Fairey's claim that he had the right to use a news photo to create his famous Barack Obama "HOPE" poster became a widely watched court case about fair use that now appears to have nearly collapsed.Read the story here. That portrait now sits in the National Portrait Gallery.
By Friday night, his attorneys — led by Anthony Falzone, executive director of the Fair Use Project at Stanford University — said they intend to withdraw from the case and said the artist had misled them by fabricating information and destroying other material.
The National Portrait Gallery had an easy way out of this mess and I offered them the idea here, and even sent it to them, but all that I heard back was this.
Had they taken my idea and run with it, they would be smelling like roses now, rather than having a work in their collection that allegedly violates copyright law.
Number 1 on NYT Best Sellers' List
DC area's own Frank Warren: Check it out here as PostSecret: Confessions on Life, Death, and God, enters the hardcover advice and miscellaneous list this week at No. 1.
Congrats to Frank!
Needling Jessica Back
Today I picked up my copy of the Gazette and was pleased to see a huge review by Jordan Edwards of Andrew Wodzianski's Abra Cadaver exhibition at Fraser Gallery. That's the only way that I get any news these days about the gallery that I used to co-own for ten years from 1996-2006.
At the Fraser Gallery in Bethesda, a collection of Androids will fill the space until Nov. 14. The mixed media pieces are not new — they first appeared at the Warehouse Gallery in fall 2006 — but this is his first solo exhibition of the illustrations at Fraser. Nine have not been on display anywhere before.And here's the gem in the show:
The series is inspired by Tomy's Mighty Men & Monster Maker, a late '70s and '80s toy that allowed children to create rubbings of creatures using interchangeable plates and a box of crayons. Spin-offs included cartoon characters and fashion models. Wodzianski received the original as a gift at age 4 and became fascinated with the differences between the girl and boy versions. He has purchased nearly 40 sets and uses rubbings as starting points for hand-drawn figures that he colors, cuts out and mounts on scrapbook paper.
Raised in rural Pennsylvania and educated at the Maryland Institute College of Art, Wodzianski teaches at the College of Southern Maryland (CSM) and has been represented by the Fraser Gallery since 2001.
The D.C. resident has had a few bruises along the way. After his first solo show at the gallery in 2003, Washington Post art critic Jessica Dawson brought down the hammer. He subsequently immortalized her in an illustration called, "Jessica, This May Sting a Little."
"He was completely devastated by the review," gallery owner Catriona Fraser recalls. "So he's done this little homage to [Dawson], but it's nothing like it could have been. He could have been a lot harsher."
Wodzianski shook it off and no longer views Dawson as a dream-crusher. The critic gave him a more favorable review last summer.
"You learn to wear bad reviews like a badge of honor," he says. "I think her writings have become increasingly sophisticated, and I'm beginning to agree with her more often than not."
"Jessica, This May Sting a Little"
Mixed Media, 10" x 8", 2009 by Andrew Wodzianski
Read the review here.
This is what Jessica wrote about Andrew six years ago. There's no art critic like time, and time has proven Dawson to be spectacularly wrong when she mimics the traditional art critic mantra and writes:
Anyone in the art world will tell you: Realism has been done. Remember those cave painters back in 15,000 B.C.? Could those guys render a bison or what?She then tears Andrew a new one:
... only a near-cosmic alignment of skill and innovation will capture the attention of an art world entranced by its own progress.
Not surprisingly, I guess, one branch of contemporary figurative painters, the ones not quite so talented or clever, have transformed attention-seeking into an art.Read Dawson's six year old review here.
... Wodzianski's scenarios are fine camp. But is the artist in on the joke?
By the way, I agree with Andrew in the sense that I also think that Dawson's reviews and writing have improved substantially in the ten years or so that she has been freelancing for the Washington Post, ever since that day when Ferdinand Protzman quit as the galleries' critic in a dispute over assignments.
The writing of the young Dawson to the more mature Dawson has mellowed out quite a bit and she's no longer the flame thrower that she used to be from her days in the City Paper to her move to the Post. I've been harsh on Dawson's writing many times in the past, but have also praised her writing when we align in ideas and opinions. And she has clearly become a better writer in the last few years.
And better educated. By the way, the book that Jessica is holding (AH 245) is a GWU course titled
"Abra Cadaver" runs through Nov. 14 at the Fraser Gallery in Bethesda.
Friday, October 16, 2009
Happy Blogaversary
Today marks the 6th anniversary of this blog!
Here's the first entry ever... back in 2003.
And now, over two million page views later, while many other DC area art blogs that were hot and new in those early days of the artblogsphere seem to have lost steam and blogapathy has infected many of them, the thrice re-named DC Art News is still moving forward and the blog is still getting new readers each month.
Hirst's spectacular painting failureThis week we may have witnessed one of the pivotal moments in the history of art. Not only has Damien Hirst, arguably the richest and most powerful artist in history, received the critical pasting of his life, but there's a sense that our whole perception of what art is, or should be, may have subtly – or not so subtly – shifted.
What's this? What's this? Is this a major, international art critic saying this?
In case you've been miles from the media over the past week, Hirst, the man who became famous by putting sharks and sheep in formaldehyde, who summed up the 21st century confluence of art and shameless materialism with a £50 million diamond-encrusted skull – none of which he actually made himself – decided to exhibit paintings executed with his own hand in one of Britain's most august art institutions, the Wallace Collection.Awright then....Here, Hirst's daubs have been hung on walls newly lined in blue silk at a cost of £250,000, close to, if not actually alongside works by Titian, Rembrandt, Velasquez and Poussin. The result has been one of the most unanimously negative responses to any exhibition in living memory. Sarah Crompton, writing in this paper, was one of the kinder critics, finding the paintings merely "thin and one note". "Deadly dull, amateurish", wrote the Guardian's critic. "Not worth looking at", said the Independent. "Dreadful", pronounced The Times.
Tom Lubbock, writing in the Independent, felt the need to preface his particularly acerbic remarks by reiterating – in an almost apologetic manner – one of the great mantras of contemporary art, that "skills needn't matter". Yet perhaps the great lesson of today's responses to Hirst's paintings is that skills most definitely do, should and always will matter.Obviously we all need to read Mark Hudson writing in The Telegraph here.
And what's most significant is that the people behind today's apparent backlash aren't the "a-child-of-four-could-do-that" brigade, but people who really know their stuff: writers with an understanding of the art of all eras who have had to pander to every kind of money-inflated idiocy in order to appear relevant in our ever more uncertain cultural market place – in order, simply, to keep their jobs. But now the critical worm has turned.
Meanwhile Hirst laughs all the way to the bank; after all, he (like Koons) is a brilliant marketeer who has (until now) fooled post modernist art critics into thinking that everything is art and technique doesn't matter.
Not the first time that art critics have been way off; it's a good thing that their/our deadliest enemy is art history and time (mostly time).
Yay Rockwell!
Wanna go to an artist's talk tomorrow?
Civilian Art Projects is moving soon, and they currently have Cara Ober and Nikki Painter on exhibition. Tomorrow, October 17, from 6-8, at Civilian Art Projects, they will host an artist talk which will be the last event in their old location.
Go check out the artwork and the art talk as well.
Thursday, October 15, 2009
Opportunity for Artists
Deadline: October 26, 2009
If you read this blog then you know that I've been always very impressed with the BlackRock Center for the Arts gallery's 1500 square feet of exquisite gallery space. With its high white walls and beautiful windows strategically placed, this gorgeous gallery allows in just the right amount of natural light. BlackRock Center for the Arts is located at 12901 Town Commons Drive Germantown, MD in upper Montgomery County, about 20 minutes from the Capital Beltway (495).
They currently have a call to artists and the call is open to all artists residing in Maryland, Virginia, and Washington, DC over the age of 18.
Original artwork only. All work must be ready for sale and to be presented in a professional manner to the public at the time of delivery.
This call will cover exhibits in the gallery from September 2010 through August 2011. An exhibit may include one applicant or a combination of applicants, based on the judgment of jurors (i.e., 1 or 2 wall artists may be combined with a pedestal artist). A jury will select the artists and create eight exhibits to be included in the exhibit year. The jury panel is comprised of my good friend and gallerist Elyse Harrison, Jodi Walsh, and yours truly.
Jurying: First Week of December
Notification: Early January
Exhibit Year: Sept. 2010 – Aug. 2011
How to apply: All correspondence will be done by e-mail, so contact Kimberly Onley, the Gallery Coordinator at konley@blackrockcenter.org and ask her to email you a prospectus.
Don't wait to the last minute! Get the prospectus now!
Postsecret's fifth book out
My good friend and DC artist Frank Warren is the brilliant mind behind's the planet's most successful art project ever: PostSecret.
And now a new PostSecret book: PostSecret Confessions on Life, Death and God, the fifth in a series of best-sellers, has been released.
And check out Frank on the Today show below:
Visit msnbc.com for Breaking News, World News, and News about the Economy
More about the book below:
And on Sunday, October 25, Warren will be at the American Visionary Art Museum, in Baltimore, MD where he will share the inspirational and funny stories behind some of the quarter million secrets that he has received on postcards. He will also project images of the secrets that were banned from the four previous PostSecret books.
Sequestered
Super hard-working DC artist Dana Ellyn has been in the news a lot lately for her irreverent paintings at a recent art exhibit in Washington that marked the first-ever International Blasphemy Day (Sept. 30) at the Center for Inquiry DC near Capitol Hill.... on CNN, then on USA Today, earlier on Religion News Service (that story received more comments than any other article in the history of their news service).
To see more about the show, read all of the articles and get links to additional stories, please visit Ellyn's website here.
One comment on the focus of the artwork (having done a few blasphemous drawings in my own lifetime): it's easy (and safe) to be blasphemous versus the Judeo-Christian religions, but where are the blasphemy paintings versus the Islamic religion? versus Hinduism? where's fat, bald Buddha in all of this? versus whatever it is that the Druze believe in? Why just pick on the two "safe" religions? Let's open up the whole can of artistic whup'ass on the opiate of the masses in all its versions.
Dana has a lot of stuff happening next:
* This Friday October 16: "Sequestered" solo show opening Reception at R. Coury Gallery in Savage, MD.
* Next Thursday Oct. 22: "P'arty" grand opening show at Long View Gallery in DC.
* December 5th: "Divinely Irreverent" solo show opening reception at Evolve Urban Arts Project.
* February 5th: "Til Death Do Us Part" two person show and wedding with Matt Sesow at DC's Long View Gallery.
* Larz from Mars - TV appearance.
Congrats to Dana and Matt!
Wednesday, October 14, 2009
Scotland calling
I used to go to Scotland once a year or so, and lived there from 1989-1992. I feel it calling me...
The Road to the Isles
A far croonin' is pullin' me away
As take I wi' my cromak to the road.
The far Coolins are puttin' love on me,
As step I wi' the sunlight for my load.
Chorus:
Sure, by Tummel and Loch Rannoch
And Lochaber I will go,
By heather tracks wi' heaven in their wiles;
If it's thinkin' in your inner heart
Braggart's in my step,
You've never smelt the tangle o' the Isles.
Oh, the far Coolins are puttin' love on me,
As step I wi' my cromak to the Isles.
It's by 'Sheil water the track is to the west,
By Aillort and by Morar to the sea,
The cool cresses I am thinkin' o' for pluck,
And bracken for a wink on Mother's knee.
It's the blue Islands are pullin' me away,
Their laughter puts the leap upon the lame,
The blue Islands from the Skerries to the Lews,
Wi' heather honey taste upon each name.
Tuesday, October 13, 2009
Chinese Contemporary Art Market Plunges
The financial crisis has caught up to contemporary Chinese art. After a boom cycle in 2007 and 2008 that led many young works to sell for multiples of their original sale price, prices are beginning to fall: In fact, Chinese auction house Beijing Poly International Auction says business has dropped by about 50 percent.Details here.
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