Visiting Artist Program at the Torpedo Factory Art Center

Deadline: February 28, 2010

The Torpedo Factory Art Center in Old Town Alexandria, Virginia has opportunities for one, two, or three-month residencies between June 1 and August 31, 201.

Visiting Artists will be provided with studio workspace, and will be able to display and sell original work to the public.

Download the prospectus and application form from this website.

There is no application fee. The deadline for application is February 28, 2010.

Juror: Jack Rasmussen, Director and Curator of the American University Museum at the Katzen Art Center.

Send questions to: vap@torpedofactory.org. No telephone calls please.

Antonio Prohías


Today is the birth date of Antonio Prohías (died February 24, 1998), born in Cienfuegos, Cuba. Prohías was the creator of the comic strip Spy vs. Spy for MAD Magazine.

On creating art

When I was in Miami doing the Miami International Art Fair a few days ago, I received a phone call from a very well-known poet.

Once he identified himself, he explained that he was calling because he was interested in using one of my drawings, which is in his collection, in his next book. The drawing, he explained, which he hangs in his kitchen in New York, has managed to be come a stern and vigilant observer of his daily activities, and he has written a poem about it.

I was honored by both the request (to which I gave my permission) and also curious as to where he had acquired the piece, which once described I recognized as a piece that I did maybe 2-3 years ago.

He told me that he had acquired the piece at an auction in New York, where he resides.

We connected rather well and spoke for nearly 30 minutes, and I promised to send him a CD with more images of my available work.

But the point that stayed behind with me, and something that I’ve been mulling for years now, is the curious travels and life of a piece of artwork once it leaves the artist’s studio and is acquired by someone.

I first started dispersing my artwork back when I was a teenager in Brooklyn. Around when I was 13 or 14, I lived in a six apartment brownstone in the East New York neighborhood of Brooklyn. The building was owned by my uncle, and part of my duties was to sweep and mop all three floors every weekend. As such I had access to the basement, which was used mostly for storage and had a rather sizable assortment of old paint cans of all sizes and colors.

Those paints, along with regular commercial paint brushes and cardboard were my first canvasses, and I used to paint imaginary landscapes on them, which then I would take to Manhattan and sell them in parks around 14th Street, across the street from Macy’s.

Then when I was in art school at the University of Washington, I was one of the many artists who sold artwork at Seattle’s wonderful Pike Place Market. It was there that I sold nearly every one of my art school assignments as well as hundreds of watercolors and drawings created specifically to be sold.

After art school I moved to Europe, returned to the US for postgraduate school, moved back to Europe, returned again for good, and all through that time began to sell work at gallery shows and art fairs, and by my own estimates I believe that by now I have sold, given away, traded and dispersed well over 5,000 paintings, drawings, prints, reproductions and sculptures in the last 40 years.

Out of that rather huge number, I have no idea where 98% of them are, although all through those same years I have never, ever, stopped producing art. Even when I was in Beirut, in the middle of a war back in the early 80s, I never stopped drawing and creating art.

Every once in a while, like the phone call from the New York poet, a work’s location returns to me, and with the emergence of the Internet, more and more have been making their way back to me as often their new or original owners want to gather information on the creator.

I’ve had emails from Europe, Latin America and Asia, with images attached, as someone who has come across and acquired a Campello wants to know more about it, or confirm its provenance.

Works have been donated to universities and other to institutions. Collectors have bought them at auction (oddly enough mostly in Europe), and people have even acquired them at antique shops and other stores.

It’s a fascinating trek that the art takes and that occurs without the knowledge of the artist. I often regret that I never kept better records of where and who owns the work (I still don’t), but then again, I also like the fact that these pieces are dispersed all over the planet and will probably be still around for centuries after I am gone.

Some don’t even have owners. Between 1975 and 1992 I created about 100 small figurative clay sculptures that I then buried underground throughout Europe (mostly in Spain, Italy and the United Kingdom). I wanted them to be “discovered” accidentally by future diggers. Some may never see the surface again.

I’ve also done a “hotel art intervention” project where I would disassemble whatever hotel art was in my room and either create a new piece of art done on the back of the print or whatever was in the frame, or in the rare cases where a bad painting (usually one of those one of a million Chinese oil paintings), I would “add” to the painting, and reframe the work and re-hang it in the room. I did this dozens and dozens of times over the years and just did one during one of my last hotel stays.

And in three instances, between 1977-1981, wearing a pair of white workman’s overalls, I installed three separate framed large watercolors in three different lobbies of three different skyscrapers in downtown Seattle.

I haven’t got the foggiest idea where any of that work is today.

But they’re out there, most of them anyway, and years from now, when I’m no longer here, they’ll still be out there.

It’s a good feeling.

Nevin Kelly Gallery closes

Here's the news release:

With a little bit of sadness and great appreciation for your support over the years, Nevin Kelly Gallery will close its permanent gallery space effective January 31, 2010 in favor of a different approach to exhibiting art. For the past seven years or so, we have tried to bring a fresh perspective to offerings of contemporary art in the Washington, DC area. We have featured work by established Polish and European artists and have showcased works by many talented local artists. Along the way, we have made some great friends and have had the pleasure of being surrounded by some really fine art.

The past year has been exciting. After six years on U Street, we moved to the Highland Park Building in Columbia Heights. We are grateful to Chris Donatelli and Bozzuto Management for their support of our efforts and for the use of public space in the building to display art. We also made a second trip to the Affordable Art Fair in New York City and received a heart-warming nomination for Best Gallery in DC courtesy of the readers of Express Newspaper, owned and printed by the Washington Post. In this last year, we hosted two solo shows featuring works by H. Wesley Wheeler and Ellyn Weiss, respectively, and staged two group exhibitions that reflected the issues of the day. The first, Stimulus, was meant to stimulate the mind and the economy by offering all works at $500 or less. The second, Zeitgeist II: What's Important Now?, a follow-up to 2008's Under Surveillance, presented the participating artists' views on the most important issues we currently face as Americans.

Although we are closing our retail space, we hope to continue our participation in DC's vibrant art scene. We will seek opportunities to host shows in pop-up locations and will continue to gather artists together to talk and showcase their ideas.

So, stay tuned by checking our blog or receiving updates via our newsletters. Thanks for being a part of our community for the last few years!

Airborne

Heading home today... with a 6:30AM departure that means a 5AM arrival at the airport... feh.

Mellema on CHAW

Damn we need more good art critics like Kevin Mellema! See his published review of the current CHAW show here.

Sixth Annual Bethesda Painting Awards

Deadline: Friday, February 26, 2010

The Bethesda Arts & Entertainment District is currently accepting applications for the sixth annual Bethesda Painting Awards, a juried competition honoring four selected painters with $14,000 in prize monies. Deadline for slide submission is Friday, February 26, 2010. Up to eight finalists will be invited to display their work from June 1 – 26, 2010 in downtown Bethesda at the Fraser Gallery.

The competition will be juried by Dr. Carolyn Carr, Deputy Director and Chief Curator of the National Portrait Gallery, Smithsonian Institution in Washington, D.C.; Mark Karnes, drawing and painting teacher at Maryland Institute College of Art and Erling Sjovold, painting professor at the University of Richmond.

The first place winner will be awarded $10,000; second place will be honored with $2,000 and third place will be awarded $1,000. A “young” artist whose birth date is after February 26, 1980 may also be awarded $1,000.

Artists must be 18 years of age or older and residents of Maryland, Virginia or Washington, D.C. All original 2-D painting including oil, acrylic, watercolor, gouache, encaustic and mixed media will be accepted. The maximum dimension should not exceed 60 inches in width or 84 inches in height. No reproductions. Artwork must have been completed within the last two years and must be available for the duration of the exhibition. Digital entries on CD will be accepted.

Each artist must submit five slides, application and a non-refundable entry fee of $25.

Applications are available online at www.bethesda.org or please call 301/215-6660. You may also send a self-addressed stamped envelope to the Bethesda Painting Awards, c/o Bethesda Arts & Entertainment District 7700 Old Georgetown Road, Bethesda, MD 20814.

About the prize:

The Bethesda Painting Awards was established by local business owner Carol Trawick in 2005. Ms. Trawick has served as a community activist for more than 25 years in downtown Bethesda. She is the former Chair of the Bethesda Arts & Entertainment District, Past Chair of the Bethesda Urban Partnership, Inc. and founder of The Trawick Prize: Bethesda Contemporary Art Awards. Ms. Trawick is the owner of an information technology company in Bethesda, Trawick & Associates.

Catriona Fraser, award-winning photographer, curator and juror is the non-voting Chair of the Bethesda Painting Awards. Ms. Fraser has directed the Fraser Gallery in downtown Bethesda since 2002. Ms. Fraser is also the Chair of The Trawick Prize and Director of the Bethesda Fine Arts Festival.

The fifth annual Bethesda Painting Awards was held in June 2009. Camilo Sanin of Jessup, MD was awarded “Best in Show” with $10,000; Heidi Fowler of Reston, VA was named second place and was given $2,000; Magnolia Laurie of Baltimore, MD was awarded third place and received $1,000 and Lillian Bayley Hoover of Baltimore, MD was bestowed with the Young Artist award and garnered $1,000.

New Administrator at the Factory

The Torpedo Factory Artists’ Association has welcomed John Luna into a newly created Administrator position to oversee the day to day business and operations of the Torpedo Factory Art Center.

TFAA Board President Rosemary Covey says, “We are thrilled to have John Luna come on board. His unique mixture of business and marketing skills combined with his genuine interest in the arts make him a great asset to the organization.”

After the consideration of some 20 well suited applicants to the position, the TFAA board selected Alexandria resident John Luna to lead their managerial endeavors. Mr. Luna’s background includes over 16 years experience in various managerial roles spanning key industries of merit for the Torpedo Factory. His experiences include work in the construction industry, media, manufacturing and operations management, healthcare, education, and project management for government and military agencies. He has worked for some notable organizations such as ESPN where he was a technical director and program producer, Bose Corporation where he still holds a top sales record, and Drexel University College of Medicine where he was senior administrator overseeing the first fully accredited on-line Continuing Medical Education program in the United States.

Mr. Luna’s education includes three degrees spanning Business with a focus in Public Relations, Audiovisual Engineering, and a scientific degree in Communications with a focus on Rhetorical Studies.

Mr. Luna is also active in the arts. In addition to being a published graphic artist and independent film actor, John can also be found playing a wide variety of music as a guitarist and bass player. He has produced and directed television as well as industrial film projects and has also been published as a voiceover artist. His past work in paint and digital photography are a personal hobby. As such he brings a solid merger of business acumen and creative talent to the Torpedo Factory for the benefit of all.

While Mr. Luna is a recent addition, as of November 2009, he’s already settling right into the daily needs of the Torpedo Factory Art Center. John is actively engaging the membership and affiliates of the TFAC daily and believes in an open culture of progressive action and personal accountability.

We wish Luna the best as the TF continues to reinvent itself.

San Diegoing

I'm in beautiful San Diego for the week and returning home on Friday. I once again want to encourage artists to enter this competition. It is not often that an opportunity comes which has no entry fees and no commission.

The deadline is the 17th - ignore the 7 January postmark requirement - that's a typo; it's the 17th. Click here for the prospectus.

Update: You can also register online here.

Deadline is almost here!

Deadline: January 17, 2010

This is the kind of opportunity that I like: absolutely no fees to submit and zero commission on sales: click here for the prospectus.

And, O yea... I'm the juror! I'll select the prizewinners once the committee selects the artists to exhibit.

Airborne

Heading to the Left Coast for some unexpected last minute lecturin' - more when I get there.

MIA – Day 5: The Last Day

0900 – Up and early again and heading out to Miami Beach. Thank Mr. Garmin for GPS navigation, as Calle Ocho was closed for some sort of event and I just kept driving parallel to it until the GPS found a back way to Miami Beach. It’s very cold at the beach, in the low 30s and everyone is wearing coats and hats. At the door to the café where I stop for coffee and pastries, two old Cuban black men are discussing various Cuban dances and arguing which one is the best one. I listen to their discussion while I drink my coffee. Picking up the machine-gun fire speed of the dialects from Havana and Oriente as they argue back and forth.

1000 – I run into Dr. Fred Ognibene, who is here with the medical convention that is taking place alongside the art fair at the convention center. I leave a couple of passes for Dr. Fred at the “will call.”

1100 – The fair opens and it is pretty quiet, so I walk around and shoot an 11 minute walkthrough video of the art fair. It will be uploaded later.

1530 – A trustee from the Miami Art Museum drops by and we chat a long time about Sandra Ramos’ work. She wants to see more images of the new work that I just received back in DC while I was here. We also discuss some possible museum donations. She also asks me to send her a CD with my own images and CV.

1600 – I sell one of my pieces to a collector who gets very passionate about it.

1645 – Although attendance has not been spectacular, the last two days have been the busiest. Still, sales are slow to come by. My niece and mother come to visit. It is the first time that my mother has visited me in an art fair. She also participates in the Argentinean fingerprint art project.

1700 – A young collector falls in love with two of Michael Janis’ gorgeous scraffito pieces. She asks for a collectors’ discount on two. I give it to her, and then she says that she has to clear it with her husband. She comes back repeatedly and takes photos of the works which she then sends to her husband. He is recalcitrant. To make a long story short, after nearly two hours of texting and negotiating, she gets one of the pieces at a dealer’s discount (she’s a Ft. Lauderdale gallerist).

1900 – Fair ends and I am exhausted and now the real hard work of packing begins.

2400 – I am finished packing and cleaning the walls. The fair is over. Tomorrow the shipper comes by, picks up the work and ships it back North (except for all the Tim Tate’s works, which will be at Art Palm Beach next weekend with Projects Gallery.

0030 – I arrive at Little Havana; the power has been off in my cousin’s side of the street for hours and he has been waiting for me to let me into his walled compound, as the electric gates do not work.

0100 – I get to bed, a flashlight by my side; feh!

MIA Day Five – Rainy Saturday

0800 – I’m awake and out of the Little Havana apartment bright and early as I want to do some visiting before heading out to Miami Beach. It is rainy and cold (in the 40s).

1200 – Fair opens and there is also another fair at the Convention Center which is now open; appears to be some sort of medical expo.

1400 – There seems to be a marked increase in traffic; maybe the bad weather is driving people indoors. I’ve shot a little video of the fair and dropped by to talk to LA gallerist Seth Carmichael. He represents DC-based artist Mark Jenkins (DC’s famous Tape Dude) and will give Mark a solo in his LA gallery in a couple of months. Seth has a well-known Jenkins sculpture in his booth.

1500 – The lady whose husband busted the Ann Plan piece on opening night comes back and buys a Sandra Ramos original collage. You reap what you sow.

1510 – The curator of the Latin American pavilion at the Shanghai Art Fair comes over and invites me to exhibit at the fair.

1605 - A local curator who has been walking around the fair invites me to leave some of my artwork with her for some of her curatorial projects. She is one of the curator's at MIA's "Next Generation" hall and so I agree to leave some drawings with her.

1630 – The woman who put the Tim Tate on hold a few days ago returns with her husband and another couple. They ask a million technical questions. She really wants the piece, but hubby is tough. He then wants to switch video cards between two separate sculptures and offers $5,000 for the piece. I say no. The wife still wants the piece. He then wants to see if he can work directly with Tate. I tell him that Tate can consider a commission. Wife still wants the piece that she wanted. He then mulls back about $5,000. I say no. He says he only wants the glass part and the Digiviewer and not the stand. I tell him that what he does with the piece once he owns it is his business, but that one can never tell what the future holds and that separating the pieces may harm the integrity of the work. I suggest that he can install the work so that only the glass part shows, and give him a couple of ideas on how to do this. He seems to like that aspect. He wants to come over to Washington and see what else Tate has. I tell him that he is welcome to do that, but that I have his latest work here and Tate is preparing for a museum show and doesn’t have that much more work available. Wife still wants the piece. They give me their contact info and promise to come back after they debate it. He mulls about $5,000 and I say no.

1645 – The director of the fair comes back and tells me that I have the best installation in the fair.

1730 – German collector comes by and is really interested in a Tate piece. As I am working with him, the 1630 couple comes back. I’m in the booth by myself and can only work one at a time. The German collector notices that the other couple when they say: “Let’s close the deal.” He tells me that he’ll be back and leaves.

1900 – 90 minutes later I am exhausted after working the most difficult sale in my life with the most difficult man in Boca Raton. They buy a Tim Tate and I believe that they will swap video cards and play their own videos in the sculpture once the piece gets delivered. It is an exhausting exercise which is fueled by a bad economy and the need to at least break even in this fair.

2100 - Saturday is over. Tomorrow is the last day. I head over to Little Havana; it's in the 30s in Miami Beach and raining.

MIA Day Four - The Weekend begins

0800 - I'm up and about as I need to get some new video cables to see if I can make the digital player work and project Tate's videos onto the wall. First I stop by a new bakery and grab three Capresse empanadas for breakfast. Then I drop by a Radio Shack and get a new video cable. Sounds easy, but it actually involved going to two Radio Shacks and one Office Depot before I found the friggin' video cable.

1100 - I arrive at the Convention Center and start fiddling with the video projector. My hunch was right and the video cable was bad. However, I also discovered that the Digiviewer is also bad. I then hunt down a new Digiviewer to replace the bad one. By the time it is noon the damned thing is finally working and the Ophelia video is projecting onto the booth wall.

1200 - 1800 - Yawn. Somewhere in there I sell an Erwin Timmers recycled glass sculpture.

1820 - Someone is interested in buying my Ophelia drawing, but they can't get over the title association with the character.

1915 - A curator from a Central American museum is interested in seeing how she can get some Sandra Ramos and Tim Tates for the museum. She tells me that the museum has no acquisition funds, which makes the issue an usually difficult one. In this case, however, I happen to have two collectors lined up to donate both Tates and Ramos' to museums who want them (hear that museum curators?). We exchange cards. She apologizes by saying that her National museum is privately funded and they don't get any money from their government. I remind her that in the US all museums are privately funded. She looks a little quizzical until I explain that even though some museums are funded by the federal government, the said government gets its funds from private citizens and private companies, and thus, by extension of my logic, all US museums are privately funded as well, with some having the government as a middle man.

2000 - I sell a Ann Plant sculpture, her second sale of the show, which is her first show ever. First sale of the day.

2100 - Day over; they're expecting a really cold rainy day tomorrow... great.

2130 - Dinner at El Chalal again with Frank and Helen. Great seafood as usual and two good Peruvian beers. Then I head back to Little Havana.

2200 - On the drive home I talk to my daughter Elise, who tells me that she just finished doing a song in a CD and will be in DC and NYC soon to do some promotional work on the radio and on TV. All the others in the CD compilation are big names; very impressive! More on that later.

MIA Day Three - Opening Day

0717 - I am up and trying to catch up on work email and returning phone calls.

1030 - I am out of the apartment and heading to the bakery to get food and water for the day. I get a Cuban Pork Sandwich for breakfast and a Medianoche for lunch later plus an assortment of stuffed potatoes, stuffed yucca rolls, pastries and sweets. Enough food for a week actually. I also get some soap, as in my cousin's apartment, which is vacant all the time, there's no shower soap and I've been using some old shampoo to cleanse my body and I am a little tired of smelling like kiwi and watermelon all day.

1100 - Arrive at the Convention Center for the long day of the actual opening.

1400 - Tim Tate video is put on First Right of Refusal till Sunday. I've handed out about 25 cards about his video work today as his work continues to attract people like moths to my booth. The digital video player is still not working and I am contemplating switching the DigiViewer to see if that's the issue.

1430 - Prof. Chawky Frenn swings by and we chat a little. Chawky is an amazing painter; he's looking for representation.

1500 - It's really slow and so I stroll around the fair a little. There are a lot of Argentinean galleries in this fair. They all seem to have German names. One of the gallerinas is the spitting image of actress Tia Leoni.

1630 - A major collector, who last month bought a Sandra Ramos from me at Red Dot comes by to say hello. I discuss with them that I have a couple of donors looking to donate Sandra Ramos' works to museums. They give me the name of a curator at a local museum and tell me to use their names.

1900 - Prof. Chawky Frenn comes by again. He has been trolling the fair looking for potential galleries for his work, which is so politically and homo-erotically charged that it is very difficult for some. He looks a little dejected. We walk over to the Argentinean worldwide art project next to me. They take gold fingerprints of people all over the world and are staffed by several beautiful girls from the Americas. Chawky goes over and does the whole fingerprinting part and then begins to chat the girls. He then meets Carlos Woods, a gallery owner from Guatemala and Chawky shows him the last book published of his work. Minutes later Woods is offering Chawky a solo in Guatemala. Prof. Frenn has accomplished his mission.

1930 - A curator from the Miami Art Museum comes by and we discuss Sandra Ramos. I pass to her that I have two collectors in the DC area who are looking to donate several Sandra Ramos' pieces to museums. She leaves me several names at the museum to contact.

2000 - It's all over; heading to Little Havana for the night.

Wanna go to an opening tomorrow?

Washington Sculptors Group: Sculpture Now 2010 (January 5 until February 12, 2010).Opening Reception - Friday, January 8 from 6:00 to 8:00 pm. at Pepco’s Edison Place Gallery (702 Eighth Street, NW, Washington, DC 20001). The reception will include an awards presentation of first and second place prizes with top honors being named after long-time WSG member and artist Tom Rooney. Juror’s talk - Saturday, January 9 beginning at 2:00 pm

The exhibition was juried by Ryan Hill, Curatorial Research Associate for the Hirshhorn Museum and Sculpture Garden, Adjunct Professor at George Washington University, and artist. Speaking about his selections, Mr. Hill stated that he was "interested in artworks that used non-traditional materials, explored layering and decentered compositions, and reflected our information-driven society."

Artists selected to participate in the exhibition include: Karen Bondarchuk, Leah Frankel, Kerry Furlani, Tom Greaves, Jason Haber, Ray Hau, Leila Holtsman, James Mallos, Bill Moore, Elena Patino, Mike Shaffer, John Simpkins-Camp, Erwin Timmers, Patricia Tinajero, Elizabeth Whiteley, and Alice Yutzy.

MIA Day 2 - Set Up & VIP Night

0245 - I wake up, thinking that I've heard Little Junes crying. Even though I am exhausted, it takes me forever to go back to sleep.

0730 - I wake up half an hour before the alarm. After S-S-S (read yesterday's account to know what that means), I head out to MIA. On the way I stop over at a Cuban deli and buy some Cuban pastries to share with the Hyders. I end up eating my share on the drive to the Miami Beach Convention Center.

0930 - Arrive at MIA. It's $15 to park all day, but the parking lot is directly on the other side of Exhibit Hall A, which is where MIA takes place. It's a long assed walk and during the walk I discover that one should never wear brand new shoes to an art fair. Today I have to hang and prepare my booth, so I'm wearing jeans, but I've brought the suit and tie for later tonight, when the VIPs come. It's gonna be a long day, as the fair ends at 11PM.

0945 - My booth still doesn't have electricity, and I discover that I've forgotten my power drill, so I start hanging seven Tim Tate self contained videos using a screwdriver. I'm concerned because I can't test the videos until I get electricity into the booth. SO I start arranging the other work to be hung. As soon as I am finished, a floor cleaning crew shows up and wants to clean my booth's floor. I remove all the work and wait while they steam clean the cement floor.

1015 - The cement floor is nice and clean, the booth's walls are freshly painted, and the work is all back in, spread out and ready to be hung. But no electricity. I begin to hang all of Tate's metal boxes components of his video work, and unpack Sandra Ramos, Cirenaica Moreira and Marta Maria Perez Bravo's work. A dozen long trips to the Hyder's van to store away the packing detritus follows.

1200 - All the Tate's metal wall boxes are hung, and the cardboard boxes containing the glass and video parts are aligned under them, on the floor, like soldiers itching to join a war. But there's no electricity.

1225 - I hang Michael Janis' heavy-assed "Lovers" in a few minutes, then spend a friggin' hour aligning and hanging his four smaller pieces. But at the end it looks good.

1230 - The sculpture floor stands arrive, and I open the FEDEX shipment box containing Erwin Timmers' two sculptures. When I open the box, they are both broken.

1330 - I've hung Ramos and Moreira, and the electrician arrives! I then hang my own work last.

1400 - I've got electrical power, so I begin the process of testing and then hanging the video components of Tate's seven sculptures.

1640 - Tate is done being tested and hung; it all works fine and even the digital projector has been set and is projecting Ophelia video onto the wall.

1700 - The electrician (a really nice guy) finishes my booth and now I have lights. I am sweaty and my feet are killing me.

1715 - I borrow a ladder and put up artists' names and adjust the lights, managing to cook some hands in the process.

1730 - I head for the bathrooms with a suit and a cordless shaver. I emerge a few minutes later as "Mr. Art Dealer," all clean and slick. The digital video player has ceased to work and 30 minutes of fiddling by me and my neighbor yield zip results. This means that I can't project videos onto the wall; my master plan for attracting moths to the light. Great...

1800 - The fair starts and I realize I don't have any "merchandise removal passes" which is the piece of paper given when you sell something so that the client can take it with them. Someone points out to me that my front wall is unlit, and I realize that the electrician forgot to install one key light fixture. I rush to the office to see what can be done. Result: That front part of the booth will be dark tonight, but at least I've got plenty of sales exit forms.

1900 - Slow, some family members who live in Miami show up. My cousin Estrellita, a high powered "green" lawyer buys one of my drawings. Even though it is VIP night, unlike other fairs, there's no free booze or food anywhere to be found. I realize that I haven't had a drink of water all day and that my lips are parched. I pay $4 for a bottle of water.

1905 - Prof. Chawky Frenn comes by with a few friends and we chat a little.

2000 - Women in Miami really like to wear those spiky boots, I notice. Because there's no free booze, the crowds are lethargic.

2050 - More work sold: more of my drawings and a cool Ann Plant glass landscape. The client who buys the Plant also buys one of my drawings. And he knows about the WPA Auction and Mera Rubell's part in it (have the Miami papers done a story???). He also asks if I was one of Mera Rubell's "sweet 16." I launch into my Rubell story. I talk him into flying to DC for the WPA Auction after I show him online the piece that Rubell selectd. As usual, the Tate videos attract a lot of attention. I almost sell Janis' "Lovers" but can't close the deal.

2100 - A husband and wife couple who are on the Collectors' Committee for the Miami Art Museum come to check out the Sandra Ramos work - they love one of her collages, but ask for a card and then leave. A while later they return with a local art dealer, who also has a booth at MIA. He gives the piece a good endorsement. Then the husband backs into the pedestal holding one of Ann Plant's sculptures and knocks it down on the floor, where the glass piece shatters into a million pieces. A hush envelops the floor. It looks like the poor old guy is about to have a heart attack. It's a $500 piece (thank God only $500). They apologize; no one offers to pay for the broken artwork. The guy looks really frail and I'm really nice to him because I don't want him to stress out any more. The client who bought the other Plan piece returns and he almost breaks into tears when he sees the demolished piece. "Iwanted that!" he cries to the couple. I wrap it up and give it to him. He now owns two Plants. The museum couple tell me that they're really interested in the Ramos, but then they leave again.

2215 - I notice that a glass of champagne costs the same as a bottle of water. Weird... And my new shoes are killing my feet.

2300 - VIP night over. Tomorrow the show opens to the public. And tomorrow I am bringing food and water. I've never been to an art fair where the exhibitors don't get any refreshments.

2315 - I walk the long-assed walk to the parking lot and drive back to Little Havana. Once I get there I realize that I've forgotten to call my wife and that I've left my suit bag back in the booth with my shaver.

2355 - My new shoes are off my wounded feet and I am heading to bed, but I start to write this post. My cousin has filled the fridge with beer; is he a mensch or what?

2359 - Blog updated with this post. I am exhausted but OK. Tomorrow the show opens to the public at noon. It would be nice to make enough sales on opening day to cover costs.

Wanna go to an opening this Saturday?

Apronology.

It’s defined as “the study of the art of the apron,” and it’s a word that appeals to Virginia-based artist Trudi VanDyke, curator of the upcoming mixed media exhibit “Personal Armor: Artists’ Concepts of Aprons” at BlackRock Center for the Arts.

“I thought that was just a hoot,” said VanDyke, an independent curator, consultant and juror who is also an adjunct professor of art management at George Mason University, a freelance writer on the arts and the former director of both the Ellipse Arts Center in Arlington and Alexandria’s Torpedo Factory. “But I like to work with themes that artists can interpret independently – and I’m always on the lookout for artists whose work I admire, because I want to see how their work might come together in the show.”

In this show, which runs from Wednesday, January 06, 2010 through Friday, January 29, 2010, the work of 31 artists from Maryland, DC, Virginia, Colorado, Florida, South Carolina and Pennsylvania reflect on the common theme of the apron – with intriguing results.

“What does the apron represent?” muses VanDyke. “There are a lot of feminist statements in the work: for some artists it represented how they’d been held back by the apron, the Father Knows Best sort of theme.”

Other artists used the apron to represent their own apron-wearing mothers; VanDyke says even the plight of battered women comes to light in the exhibit. Wood, wire, glass and metal make appearances, along with more unusual media, and the moods run from sentimental to mysterious to whimsical.

VanDyke points out that the Artist Reception will be held on Saturday, January 9, from 5:30 - 7:30 p.m. She hopes art lovers will gather to learn more about this unusual and interesting show – whether they themselves wear aprons or not.

Personal Armor: Artists’ Concepts of Aprons
Wednesday, January 06, 2010 through Friday, January 29, 2010
BlackRock Center for the Arts
Gallery Hours: Monday to Friday 10 a.m.-5 p.m.
Saturday 10 a.m.-2 p.m.
Admission is free
Artist Reception Saturday, January 9, from 5:30 - 7:30 p.m.

MIA – Day One: Travel and Hang

0200 – I’m having trouble sleeping, and the alarm is set for 2:45AM, and the taxi will arrive at 3:30AM. I look at the alarm clock and it reads 2:07. I hope to catch at least half an hour more of sleep. Today will be a long day, as I’m flying down to Miami with a 6:10AM departure from BWI. It’s installation day for the Miami International Art Fair (MIA), which opens formally tomorrow with a VIP reception.

0245 – The alarm rings and I’m surprised that while I thought I was awake most of the time, I was actually catching some Z’s. I spring from bed, hoping that Little Junes will not awake, and proceed to what the morning wake-up ritual known in the Navy as “shit-shower-and-shave.”

0305 – I’m out of the shower and dressed, and I close the luggage and carry it from the bedroom to the front door, hoping that the squeaky hardwood floors will not wake up Little Junes. My wife awakens and follows me to the door and kisses me goodbye. I send her back to bed; this will be a tough week for her as a single mom to a four month old. I pack up the laptop, remember to grab a box of red dots and then step outside to the 25 degree Potomac early morning to get my Blackberry ear plugs out of the van. Bones (that’s his real name), my cab driver, is already there in the driveway and waiting for me.

0320 – On the way to BWI Bones tells me about his daughter who is about to graduate from Maryland. This burly cab driver has three daughters and he’s put all three of them through college. He is a hero. Bones is originally from Nigeria, and he likes to talk about art. On this trip I discuss the work of artist Viktor Ekpuk for him. Bones dissects the name and tells me where in Nigeria Viktor is from. He promises to look for Viktor’s work in the Internet.

0410 – We arrive at BWI. Outside the airport is quiet, almost deserted. Inside it is also deserted except for a huge line at the American Airlines counters. I’m flying AA, so I resign myself and join the line. I’m really early anyway. A gregarious AA Skycap is herding people along to the check in counters. When I check in I discover that AA now charges $20 for your first checked in bag. It used to be $15. It also used to be explained that the charge was because the price of airline fuel was so high and was “temporary.” But now that the price of fuel has dropped, the checked-in charge not only remains but has increased. And flights are packed but airlines still lose money. Something doesn’t make sense to me in this industry.

0430 – I’m surprised to find the security line almost non-existent and go through the TSA portals. Something in my laptop backpack catches their attention and they search for it. The backpack is filled to the brim with assorted electronic junk such as the GPS unit (I find that now I can’t drive without GPS aid), the removable hard drive, the Flip video recorder, the digital camera, assorted power cables and books. Finally they find the offending item: a wine corkscrew. I had no idea that it was inside the backpack. Since the corkscrew doesn’t have a blade, it’s OK and I’m passed through.

0440 – I find a seat by a wall outlet and plug in the laptop to do some Facebooking and surfing. A teen it’s a couple of seats from me and begins to alarm me with his coughing, sneezing and snorting. It is obvious that he has a cold. It is also obvious that no one has told him that he should cover his mouth when he sneezes. I debate whether to move seats or tell him to cover his mouth. As electric wall outlets are not easy to come by at BWI, I elect for the latter and tell him. He doesn’t respond, but simply moves away from me, to infect someone else.

0540 – We begin boarding. The flight goes to Miami and then to Cancun. It is loaded with folks dressed for tropical weather and who earlier on froze their butts getting to the airport, but by noon will be sipping Margaritas by the beach while I’ll be installing the artwork at the Miami Beach Convention Center.

0610 – We actually depart on time, and I get prime seating on the first row, with the extra leg space and on the aisle with two empty seats in my row. Good start to the flight day. I’m reading “Seven Days in the Art World” by Sarah Thornton and rediscover what an asshole Chris Burden is.

0840 – We actually land a few minutes ahead of time.

0915 – 1100 - I swing by Casablanca Bakery in Hialeah and have breakfast (eggs, Cuban bread, ham and coffee for $3) and pick up two boxes of Cuban pastries and two Cuban breads. I visit my parents in Hialeah and my aunt in Miami Beach, drop the pastries and bread. I am also forced to eat in both places even though I am full.

1130 – I arrive at the Miami Beach Convention Center; the big leagues of art fairing and home to Art Basel Miami Beach. I meet Philadelphia artist Frank Hyder and his wife, Helen, director of Philly’s hardworking Projects Gallery. They are my Philly dealers and we’re doing this fair together. They tell me that my booth has been moved to a new location by the fair management. Also, about 75% of the booths still have not been finished nor painted. There is clearly a lot of work still to be done before a single thing can be hung.

1230 – 1430 – Lunch at the Hyder’s Miami Beach condo – the one with a breathtaking view of the ocean. We load up a vanload of artwork and take to the Convention Center. Poor Frank is hobbling because he took a nasty spill in Philly ice recently. The booths are still far from being finished. Lots of painting and wall re-arrangements being done. Frank Hyder walks me through the spectacular sculptural works by Federico Uribe. His work, done from shoe laces, sneakers (Puma gave him 30,000 running shoes for a particular project), and other common objects – including a toilet plunger which has been transformed into a flower via the use of wooden clothes’ hangers – make him the best WalMartist that I have ever seen. Uribe’s work alone is worth the price of the entrance to the fair. The bright yellow sun made out of yellow shoelaces, thousands of them is a transformative piece worth of worship by the Egyptians.

1500 – I find the guy in charge of painting and construction and tell him (more like beg him) that my booth has been moved from its original location and now the booth design closes up the booth too much and I need one wall moved. The booth still needs to be painted. It may be hours before a crew can get to it. I used the Cuban angle and the HMFIC sends the painting crew to my booth. Now I just need to get one wall moved to open up the gallery.

1700 – Construction guy shows up and says that the wall will be moved in ten minutes. 45 minutes later I am still waiting.

1800 – Wall crew arrives. They are very friendly and quite experts at their work. After a 15 minute Union-mandated break, they start adding a new wall and removing the blocking wall in my booth. It is hard work.

2000 – All the booth hard labor is done. The crew has done a terrific job. And I have a shiny, newly painted booth, in a new arrangement and in a new spot. Now at G-11 instead of G-13.

2001 – I hang one large photograph by Cuban artist Cirenaica Moreira, and exhausted call it quits for the night. Loads of other galleries are nowhere to being close to being ready.

2015 – The Hyders and I have a terrific meal at a Peruvian Restaurant called Chalan in Miami Beach (at 1580 Washington Ave) . I have one of the most amazing seafood dishes that I’ve had in a long time. It has a rather forgettable Peruvian name, Cau Cau something. It is very yummy.

2345 – I'm at my cousin's beautiful home in Little Havana, staying in his empty maid's quarters' apartment in the rear of his home. I post this blog and exhausted get ready to sleep a few hours. Tomorrow we hang the artwork and by 6PM the VIPs arrive.

Great exhibition opportunity for artists

Deadline: January 17, 2010

This is the kind of opportunity that I like: absolutely no fees to submit and zero commission on sales: click here for the prospectus.

I'll be jurying this show, which will be in Norfolk's best gallery (in my opinion).