Copyright and Contract basics
Washington Project for the Arts and Washington Area Lawyers for the Arts (WALA) invite you to a No Artist Left Behind workshop on Copyright and Contract basics at the Arlington Art Center.
John D. Mason, an attorney at The Intellectual Property Group, PLLC., will share valuable information about contemporary issues in copyright law that artists need to know, followed by a question and answer session.
John D. Mason is a Washington DC/Maryland-based art and entertainment and intellectual property attorney. His practice focuses on copyright and trademark matters, litigation, contracts, and commercial matters. He works with writers, artists, and creative people and companies to protect and promote their work and is also a literary agent. He sits on the Board of Directors of the Washington Lawyers for the Arts.
No Artist Left Behind is a series of professional development workshops offered by Washington Project for the Arts providing resources to help artists succeed both inside and outside the studio.
This event is free and open to the public. Attendance is limited to 50 people. Please RSVP to agriffiths@wpadc.org
Location:
Arlington Arts Center
3550 Wilson Blvd
Arlington, VA 22201
Friday, October 23, 2009
Wanna go to an opening tomorrow?
In his premiere exhibit at Addison/Ripley Fine Art in Georgetown, photographer James Osher presents an exhibition that examines subject matter which is derived from historic paintings in several museums, including, most recently the National Gallery of Art in Washington, DC.
As the artist states, "My work explores the transitory aesthetics of contemporary art viewing." By basing the work on the paintings of Masters and Old Masters, the artist is able to examine culturally assumed "value" as it pertains to "priceless" objects. Osher's work "allows viewers to experience these masterpieces in entirely new ways, forming fresh conceptual relationships with historically relevant works of art."
The opening reception for the artist at Addison/Ripley is this Saturday, October 24 from 5-7PM. The exhibition goes through December 5, 2009.
Studio space available
Only two individual artists studios remain in a wonderful new visual arts building! Located on Rhode Island Avenue just across the DC line in the Gateway Arts District, the Gateway Art Center building has a total of 12 visual art studios and multiple galleries.
The last two available studios are right off the loading dock at the 39th street entrance. Studio 207C is 418 sf and rents for $348 per month PLUS utilities and Studio 207D is 432 sf and rents for $360 per month PLUS utilities.
This warehouse was completely rehabilitated and has really turned out beautifully. With all new walls, windows and heating/cooling system you need to see it to believe it. There are eleven (11) artists, one arts nonprofit and one government-sponsored arts program starting to move in. Come be a part of this great community!
To see a space right away call John at 301-864-3860 ext. 3.
Thursday, October 22, 2009
Philadelphia artist takes the inaugural $150K Wolgin Prize
You already know how I bitched about the fact that the jurors for this very generous prize really screwed up in their lazy elitism and ignored the fact that this prize was supposed to go to an emerging artist. Instead, as announced tonight in Philly and discussed in Philly.com:
Ryan Trecartin, a young Philadelphia painter and sculptor whose psychedelic, desultory, kitschy video work has found love among critics and collectors, has been given the first $150,000 top award in the Wolgin International Competition in the Fine Arts - one of the richest art prizes in the world.Right... fit the mistake to the error so that from now on an "emerging artist" is someone who appears at the Whitney Biennial, the J. Paul Getty Museum, Saatchi Gallery, and the Solomon R. Guggenheim Museum, etc.
... Trecartin's works have attracted wide attention, appearing at the 2006 Whitney Biennial, the J. Paul Getty Museum in Los Angeles, Saatchi Gallery in London and the Solomon R. Guggenheim Museum. He recently was awarded a Pew Fellowship in the Arts, which carries a $60,000 cash award.
... Glahn said the competition would likely undergo refinement for its next round; it might be hard to call any of the three finalists an emerging artist, since all three have exhibited widely.
"What might change is our definition of what emerging is," he said.
That's much easier to do (change the definition of emerging artist so that the next set of jurors picks another artist at the blue chip well-known level of Trecartin) than actually do what Mr. Wolgin wants and have the prize go to a fucking emerging artist.
Tyler University and Temple Gallery and Jack Wolgin: How about making the 2010 jurors work for real and earn their jury money so that from now on a prize supposed to go to emerging artists go to emerging artists. If you need to know how to do this, call me.
And congrats to Trecartin, who has no fault in this mess of a first year for the Wolgin Prize; at least the loot stayed home for Philly.
Outwin Boochever Portrait Competition 2009 Winner
Tonight the National Portrait Gallery announced the winner of the Outwin Boochever Portrait Competition 2009 at the opening reception and the winner is photographer Dave Woody from Ft. Collins, CO. The exhibition will open to the public tomorrow Friday, Oct. 23 and will remain on view through August 22, 2010.
Erik by Dave Woody
Congrats to Dave Woody! You can see his portraits here.
The Killing of Dub
The Killing of Dub(h)
Charcoal and Conte on Paper Panels c.2009
10 feet by 4.5 feet
At ten feet long this is by far my largest drawing ever and (since it was a private commission) heading to a collection in San Diego (but I do have the much, much smaller study available for sale).
The drawing depicts the drowning of the Celtic witch Dub or Dub(h). She was married to the elf Énna and was very jealous. Upon learning that her husband Énna had taken a second wife named Áíde, Dub cast a spell on the second wife and drowned Áíde and all of her family. Seeing this, Áíde's servant threw a rock at Dub, hit her on the head and Dub fell into the same pool and also drowned. Dublin is named after the place where she drowned. Lin or Linn in Gaelic is "Pool" ("Dub" means "Black"). Thus Dub + Lin equals Dublin or Dub's Pool.
Click on the image for a larger version.
JRA and Washington Craft Show
Deadline to register: October 30, 2009
Join the James Renwick Alliance from Noon to 5:30pm on November 7, 2009 for an afternoon of craft and design with artist and collector-led tours of the Washington Craft Show that explore the criteria used to look at glass, ceramics, fiber, metal/jewelry, and wood as genres of collecting and for increased appreciation on the art form.
Participants will begin at a nearby gallery featuring work by an artist involved with the new textile design project that will be visited later in the afternoon. Artist and collector experts in specific craft mediums will give brief 3-point "this-is-what-to-look-at" talks about ceramics, glass, fiber, metal/ jewelry and wood before going to the Washington Craft Show. Light refreshments will be served.
Participants will then walk to the Washington Convention Center to tour the Washington Craft Show as part of a medium specific group. Each group will visit the booths of 2-3 artists working in that medium who will talk about their work. The tour part of the afternoon concludes around 2:45pm allowing the participants to enjoy the craft show and show events on their own.
From 3:30pm to 5:30 pm, participants are invited to a private reception near the Convention Center to view a private collection of studio furniture and ceramics, and to see the results of a three-week textile design experiment. Representatives of the sponsoring gallery and the artist will talk about the project concept.
Price: $30.00 for JRA members and $35.00 for non-members. Both prices include a ticket to the Washington Craft Show. $10 of registration fee supports JRA programs and is tax deductible.
Deadline to register: October 30, 2009
Group sizes are limited
To register please contact the James Renwick Alliance office.
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.
