Ancient DNA Links Native Americans With Europe

"Im still processing that Native Americans are one-third European," says geneticist Connie Mulligan of the University of Florida in Gainesville. "It's jaw-dropping." At the very least, says geneticist Dennis O'Rourke of the University of Utah in Salt Lake City, "this is going to stimulate a lot of discussion."

Details http://www.sciencemag.org/content/342/6157/409.full

Alex Queral "Face | Book - Phonebook Portraits"

I know this show is in Philly and not the DMV, but my peeps Alex Queral is not only a University of Washington fellow grad, and a fellow YUCA, but also such a terrific artist who has carved a niche (pun intended) like no one else in the art world, that this show deserves a shout out:

November 1 - December 21, 2013
Artist Opening Reception:  First Friday, November 1^st, 6-9 pm

Projects Gallery Philadelphia is pleased to present Alex Queral’s “Face | Book – Phonebook Portraits”.  In his third solo exhibition with the gallery, Alex explores the duality of the recognizable and the anonymous in modern society.  Works being featured include his signature hand-carved telephone books, as well as large-scale digital prints.

Born in Cuba with a migration to Mexico before landing in the U.S., the artist has experienced first hand the sense of invisibility.  Taking, until now, an easily discarded object like a residential telephone book with its lists of thousands of faceless names and numbers, Alex transforms them into three-dimensional portraits of the famous and no-so famous of today’s mass media.  Using the simple tools of an X-ACTO® knife and a little acrylic paint, his talented hands dissect, eviscerate and reconstruct these pages of soft material into incredible art objects.  Utilizing classical carving techniques on an unexpected material, Queral brings forth the individual from the faceless masses. The artist crafts recognizable visages, vaguely familiar but elusively foreign, as well as evoking his own cast of characters from the found sheets of paper.

What happens to these images when you enlarge them five fold, returning them to the cinematic context from which they came?  The graphic details become surprising clear.  The object transcends the material and becomes the focal point of discovery and serendipitous moments appear.  John Wayne’s given name (in the female) appears on his forehead; Clint Eastwood has a listing of funeral homes, perhaps a reference to the many men shot by Dirty Harry; Zimmerman is hidden behind the head of Bob Dylan.   However, with either media, the distinctly iconic work of Alex Queral cannot be denied.

Mr. Queral received a B.F.A. from the University of Washington, Seattle and a M.F.A. from the University of Pennsylvania.  His works have been exhibited around the world and throughout U.S.; most recently at the Philadelphia International Airport and in Hong Kong.  They are in the collections of Ripley's Believe It or Not!®, Sasktel Canada, Jerry Speyer and numerous private collections. His images have appeared in numerous books, including Art Made from Books; 500 Paper Objects: New Directions in Paper Art – A Preview; Ripley’s Believe It or Not! Enter If you Dare!; Playing with Books: The Art of Upcycling, Deconstructing and Reimaging the Book.  Queral's work has gained International acclaim through numerous internet bloggers.   His carved telephone books and prints are exclusively represented by Projects Gallery.

Face | Book – Phonebook Portraits will run November 1 – December 21, 2013 with an artist reception on First Friday, November 1st from 6-9. The reception is free and open to the public.  Projects Gallery is located at 629 N. 2nd St. in Philadelphia’s Northern Liberties section. A preview of works may be viewed on the gallery’s website at www.projectsgallery.com. For more information and images, please contact Projects Gallery at 267-303-9652 or info@projectsgallery.com

A comment on the proposed new covers (hats) for the USMC

Ha, ha, ha, ha, ha, ha, ha... cough, cough.... Ha, ha, ha, ha, ha! Oh Man! Ha, ha, ha, ha, ha!!!!

Ev Clark at the Art League

The Art League Gallery in Alexandria has an interesting show coming up soon:  "Cities in the Air" is an exploration of the urban wilderness that surrounds and permeates Richmond, VA.  The show is up from November 7 to December 2.  The opening reception on Thursday, November 14 runs from 6:30 PM - 8 PM. 

You can visit Ev Clark's work at: everittclarkphotography.com

 

The Art League Gallery

105 North Union Street

Alexandria, VA 22314

General Hours:

Monday - Saturday (except Thursday) 10 AM - 6 PM

Thursday 10 AM - 9 PM

Sunday 12 PM - 6 PM

Howard County Arts Council Announces 2014 Arts Scholarship Program‏

Are you planning to pursue higher education in the arts? The Howard County Arts Council’s 2014 Arts Scholarship Application is now available!

The Howard County Arts Council will award a minimum of $10,000 in scholarship funds to students entering college in the 2014-2015 academic year. Scholarships must be used for enrollment in an accredited college program for a degree in the arts. Awards will be made in the minimum amount of $1,000 and may be used for tuition and fees only.

Applications will be reviewed by the Arts Council’s Scholarship Panel, made up of professionals working in a variety of artistic disciplines. Review criteria will include artistic merit, demonstrated knowledge of an artistic discipline, commitment to a career in the arts, and a demonstrated track record of success in an academic setting. Applicants will be notified of the committee’s decision in March 2014.

Applications for the scholarship program must be submitted online. Prospective applicants should visit hcac.culturegrants.org to initiate the application process. Applicants must be legal residents of Howard County in their senior year of high school. Applications must be submitted electronically by January 15, 2014. Contact the Howard County Arts Council at 410-313-2787 or email info@hocoarts.org for more information.

Why Artists Should Use an LLC for Their Business...

The LLC has become an increasingly popular corporate structure.  LLC’s combine the personal liability protections of a large corporation and the simplified tax structure and filing requirements of a partnership or sole proprietorship. Traditionally, corporations were the only structure that afforded personal liability protection. Because corporations are distinct entities with the power to make agreements, sign contracts and even commit crimes, owners couldn’t be blamed for its actions. Owners are merely shareholders; the corporation is the one that should pay for the wrongdoing. That was a benefit many businesses wanted.

Details here.

The Accidental Owner of a Banksy

“Are you going to be rich?” That is the first question people ask me upon finding out that in the wee morning hours of October 17, the famed street artist Banksy painted a mural on the side of a building my family owns in East Williamsburg.

The truth is — at the end of an exhausting day filled with phone calls talking to lawyers, security companies, art experts, and reporters — I have no idea what it means. There is no rule book when one of the most famous artists in the world decides to drop his work into your life.

Details here.

Washington Redskin Potatoes

Not only has PETA allegedly stolen my wife's October 9th idea about renaming the Redskins... cough, cough, but they have also come up with a lame new logo... that moon rock thing doesn't even look like a redskin potato!

Some other folks have jumped in the bandwagon and designed some even lamer helmet designs... Wait till you guys see the new logo that the Kid has been working on...

And PETA, please stick to throwing red paint on models wearing furs... cough, cough.

Art Scam Alert!

Beware of this mutant:

From:	Karl Neil (zhangjz@cspp.com.cn)
Sent:	Fri 10/18/13 9:43 AM

Greetings,
How are you doing today? I am interested in purchasing some of your products, 

I would like to know if you can ship directly to Reykjavik (Iceland). 

I also want you to know my mode of payment for this order is via Credit Card. 

Do get back to me if you can ship to that destination and if you accept the 

payment type I indicated. Kindly return this email with theprice list of your products.
 
Regards
 
Karl

Friends in Motion – an exhibit by Marsha Stein

November 7 – 30:
Friends in Motion – an exhibit by Marsha Stein
Studio 21 Gallery Opening and reception on November 7 at 6pm.

You hear the music…the laughter…the shouts. You inhale the wild aromas of the food booths and flowers and feel the vibrations in the bright hot air.

For 22 years, Marsha Stein lived and painted in St. Thomas in the Virgin Islands. She was widely known there for her carnival scenes—stilt walkers, in particular. The island and its people demand a looseness of form and composition that is fitting of the uninhibited joy of the street festival.

Marsha majored in art at American University after a childhood filled with artistic expression. In St. Thomas, she was drawn to realism as a way of making the sights around her come to life in a new way. Her emotion-fueled expressionism easily morphed into the carnival scenes. To add to those disciplines of reality, she turned to classical drawing, studying in Florence for six months to discover the techniques of the Italian masters.

Back in Washington, Marsha has expanded her themes and techniques. She looks to combine the disciplines of classical drawing with the looseness of the Caribbean works in her portraits and landscapes.

Gallery Hours: Thurs-Fri 5:30pm-8:00pm; Sat 12pm-4pm

Studio 21 is located on the Arts Walk at Monroe Street Market – just steps from the Brookland/CUA Metro (Red Line).

(e)merge art fair wake effect... Part II

Another nice review! 

This time from Berlin Art Link

Read it here.

The (e)merge wake effect

Kayleigh Bryant in The Examiner discusses the (e)merge art fair and has some very positive things to say about my artwork.

Read the article here.

Enormous Charm

Enormous Charm
Oil and Alkyds on Wood - 60x50 cm. 2013 by Simon Monk

10 Years of DC Art News!

It has survived three name changes, several hacking attempts, and three physical moves.

It has been the subject of praise, disdain, envy, threats, compliments, and happiness (for me anyway).

It has outlasted multiple fellow art bloggers who no longer blog and now shares cyberspace with multiple new ones who often do a much better job at it than I do.

It is now approaching three million visits.

Today is the 10th anniversary of Daily Campello Art News!

Read my first post here.

The art fairs and the unethical artist

I started to sell other artists' works while I was an art student at the University of Washington in beautiful Seattle. As I've noted many times, while I was there, I sold my own works at the Pike Place Market, helped to start a Student Art Gallery, and helped to connect buyers with some of my fellow artists. Then in 1996, my then wife and I opened the Fraser Gallery in Washington, DC and subsequently a second Fraser Gallery in Bethesda, Maryland. I left the Fraser Galleries in 2006 and the same year Alida Anderson Art Projects, LLC was created in Philadelphia, and in 2009 moved to the DC region, where it remains.

In all those years I've worked with hundreds and hundreds of artists, and I can count in one hand the number of artists whom I would call unethical due to their behavior in a business gallery relationship. I thank my lucky stars for that, but I also think that a vast majority of artists, for whatever artistic genetic reason, are good people.

But we are humans, and in any "industry" there are also bad apples, and my own 2-3 bad experiences with artists, plus the dozens of anecdotal stories from other dealers all add up to the fact that just as there are some unethical galleries, there are some unethical artists.

The art fairs' paradigm gives these artsy deviants a powerful new way to use their lack of decent ethics.

As I noted yesterday, for your average, independently owned, commercial fine arts gallery, signing up to go to an art fair not only opens up the gallery to a whole new set of predators in the art fair scene, but also requires a significant financial environment, which, if not returned by sales at the fair, often causes a gallery to close its physical space.

Most good, ethical and decent art galleries are more often than not run by the skin of the dealers' teeths, often financed at times by Mr. Visa and Mr. Mastercard, and nearly always a labor of love on the part of the owners.

You drop $10,000 to $15,000 bucks on an art fair, and come home with little or no sales, and an empty bank account... that often means that it's lights out for the gallery. I've seen and heard this happen multiple times in the decade that I've been doing art fairs.

As I've also noted before, there is a curious after effect to art fairs; I call it the "wake effect."

A ship leaves a wake on the ocean as it moves through the water; that wake can sometimes be hundreds of miles long and discernible for days.

I define an art fair's "wake" as events that happen days, weeks, and even years after an art fair has taken place.  These events can be sales, exhibition offers, curatorial interest, press, etc. The "record" for this is currently held by DMV area artist Judith Peck, who was recently approached by someone who saw her work at a Miami art fair four years ago and recently got in touch with Peck. As a result of that fair four years ago, Peck made a sale and was also included in a forthcoming art exhibition in Puerto Rico.

That's a heck of a long-assed wake!

The wake effect is important and nearly always present after a fair closes. It is part of a gallery's business prayer plan to survive the economic investments in attending an art fair.

In the Google age, the art of buying a piece of artwork has been Googlified and in any art fair one sees a huge number of people taking photographs of the art being exhibited (a tiny minority of these photographers ask permission first... cough, cough...) and then (here comes the "new" part) they take a close up of the wall text card with the name, price, media and title of the piece.

Potential collectors, art students, art teachers, other gallerists, and nearly every fair visitor from the People's Republic of China does this - it happens in every art fair.

Within minutes, a potential buyer can then Google the artist, even the piece, discover related works, other dealers representing the artist, etc. Minutes later, direct contact with the artist often begins, closely followed by emails to other dealers and/or the artist requesting price quotes and availability.

Some of this is very smart, as there are unethical art dealers who inflate artists' prices at art fairs in order to then offer huge discounts to potential buyers. An ethical buyer armed with good information is an informed buyer, and ethical art dealers have nothing to fear when dealing with them.

Approaching an artist directly undercuts the gallery's investment in the art fair and in promoting the artist's work. However, one can make the case that some novice buyers do not understand this relationship and thus their "direct" approach to the artist, rather than working with the gallery where they saw the artist's work, can be somewhat excused and attributed to a simple lack of understanding... cough, cough.

Experienced collectors who know and understand the commercial fragility of most art galleries, and how the artist-gallery relationship generally works, and yet bypass a gallery and go directly to the artist, should know better, but what can I say?

I know that this happens because I am nearly always one of the artists being exhibited at the fairs, not only by AAP, but also by multiple other art galleries in multiple art fairs. And I get emails from people who tell me that they "saw my work at the such and such art fair and love it" and want to know "what else I've got?" or what's "the best deal" that they can get on this or that piece.

I also know this because I've had our represented artists pass the emails back to us; this is what an ethical artist must do.

Our contract sets an arbitrary time limit on how long a commission exists after an art fair for a direct sale made by the artist as a result of someone seeing their work at the fair. It is all on an honor system, and I am happy to report that as far as I know, no one has ever screwed us out of a single shekel in "wake effect" sales.

I also know this because I work with multiple other galleries, some of which represent the same artists whom I work with, and they too understand the "wake" effect and let us know that someone has been requesting price quotes on an artist that we share.

Enter the unethical artist.

By know I am sure that you know where I am going... The unethical part comes when an artist is approached directly by someone, during or after an art fair, and associates the query with "seeing the art at such and such art fair..." and the artist does not pass the contact to the gallery and makes an independent and direct sale and excludes the gallery from its fair commission (pun intended).

Or the artist is suddenly approached directly by someone, during or after an art fair, and that someone is from the city/area where the fair is being/was held. And the artist does not pass the contact to the gallery and makes an independent and direct sale and excludes the gallery from its fair commission (pun intended again).

Real life example: A gallery exhibits artist Jane Doe in an art fair in Santa Fe. It is the first time that this artist has been exhibited not only in Santa Fe, but also the first time that Jane, who lives in Poland, has exhibited in the USA.  Suddenly Jane begins to get direct queries from people who live in New Mexico.

Hai Capito?

The unethical art fair

In the past I've often discussed and given examples of two unfortunate entities of the visual arts world: the unethical art dealer/gallerist and the unethical artist.

In the decade since I've been doing DC Art News I've given plenty of examples of both, usually culled from not only my own experience, but also from the experiences of fellow artists and art dealers.

There are other members of the unethical side of the art world, as there are in any profession: writers, critics, even collectors, but the explosion of the art fair scene has given birth to a whole new set of deviants from decency and moral ethic behavior.

Enter the unethical art fair.

This is an offshoot of the unethical dealer, as many art fairs' origins are the result of an art dealer or gallerist making the decision to organize one. Many good established art fairs, such as Pulse and the Affordable Art Fairs, for example, are good, ethical fairs owned by the same person: a British gallery owner with a savvy business drive. Seattle gallery owners practically invented the hotel art fair, and Aqua has the well-earned reputation as being the "world's best hotel art fair."

The explosion of "satellite art fairs" in cities such as Miami during Art Basel Miami Beach (ABMB) week, or Basel during Art Basel Week, coupled with the realization that many galleries now sell the majority of their art at fairs and not at gallery shows, plus the rising costs of rent in many markets, have yielded the unfortunate fact that many art dealers close their physical spaces and focus their attention on art fairs worldwide.

This December during ABMB week, there will be 26 or so art fairs throughout the Greater Miami area (plus countless other art events, openings, parties, etc.).

Most of those fairs are ethical fairs, hoping to come to the world's biggest visual arts dance. Most of participants in them will lose money, as participating in an art fair is a financially terrifying process to most galleries.

Booth prices at established fairs range from $7,000 or so up to upwards of $100,000 dollars. Hotel fairs are a little less, but then again, in my opinion there remains really one worthwhile hotel fair at ABMB: Aqua. The others still struggle to both establish a presence and to attract collectors. Aqua was purchased last year from the Seattle gallerists who created it, and because it is now owned by the same outfit that does Art Miami (in my opinion the best American art fair there is), CONTEXT, Art Wynwood, etc., it will probably expand its reputation as the best hotel art fair in the world.

The unethical art fair's model exploits the galleries' desire to be in Miami, or London, or Basel during the dance. It also exploits their inexperience with art fairs, lack of information on what is a "good fair" and a "bad fair" as we'll as embellished stories of the halcyon days of art fairs, when anything and everything that a gallery hung on a wall... sold.

It is also the result of the still somewhat fierce competition for acceptance into some of the key art fairs.

While I suspect that this brutal economy, coupled with a return to more traditional art collecting focus on the part of major collectors, and large financial art fair disasters for some galleries, have decreased the competition for acceptance into top notch art fairs such as Art Miami, Pulse, NADA, etc., they are still highly competitive and still more galleries apply than are accepted. It is the most basic rule of supply and demand. There are more galleries wanting to do these top art fairs than there are spaces available in them.

A whole "lower" tier of art fairs exist to cater to the newer galleries and the "rejects" from the "top of the food chain" art fairs. Some, like Scope, used to be top tier themselves, but Scope seems to be caught in a downward spiral caused, I suspect, by a combination of a once heavy-handed curatorial hand, plus a desperate desire to continue to achieve economic goals associated with healthier economic art times.

Others are fairs that last a year or two and disappear from the scene. Some get such bad reputations that they cease to exist, only to be reincarnated under different names, seeking to entice a whole new crew of inexperienced victims.

There is one easy two-part metric to gauge an art fair. The first part is to find out how long have they been around. That is not to say that a "new" fair is risky at all times. In fact, two of the newer Miami art fairs (CONTEXT and The Miami Project), immediately established solid reputations for both fairs on their first year.

But a new fair has more to deal with in order to achieve success, which nearly always means attracting collectors' (and their purses') attention. No matter how much critical attention a fair gets, if the dealers consistently lose money, chances are that they won't come back to that fair. Don't get me wrong! Critical attention is important, and a key part of gathering the crucial seminal collector interest, but if you are a small, independent galley that just dropped $10,000 for a booth, plus another $5,000 for flights, hotel, car rental, art shipping and food, and you sell nothing, chances are that you're not coming back to that fair or to Miami, ever.

Part two of the metric is to see how many dealers return each year to the same fair. If a significant number of galleries return to the same fair each year, that usually means that they did OK at that fair. Fairs which have whole new rosters of art dealers each year, and little to none returning galleries, are fairs where the dealers are not selling artwork.

Point of order: every art fair, no matter how good, always has a number of dealers that do very well, some that break even and many who lose money; every fair.

None of the above discussions really clarify the "unethical fair"... Yet.

But in my opinion, the following facts all contribute to make an art fair unethical and to be avoided at all costs (pun intended):

- A fair that is organized by the same outfit every year or so with a different name because of legal or other issues associated with its previous name(s).

- A fair that caters and seeks and accepts any and all applicants - including the known predatory online dealers that exploit artists by offering them (at significant costs) exhibition at the fair. Most art fair organizers know who the predatory dealers are (artists and ethical dealers "out" them). If, in spite of this knowledge they still sell the predators a booth, then they are themselves contributing to the exploitation of the artists.

- A fair which starts as a "galleries only" fair and then (as not enough gallery applications are received) opens the process to individual artists, so that in the end dealers and galleries are mixed with individual artists. With the notable exception of (e)merge, which was designed from the start to couple art dealers with unrepresented artists, the mixture of individual artists and art galleries at the same fair seldom succeeds. This is generally due to the spectacular lack of business acumen and selling experience that most artists have (not all), and the disastrous "discounting" orgies that happen on Sundays when artists realize that the fair is almost over and they haven't sold squat.

For the last several years, around October, I get emails from (usually) DMV artists who are thinking of doing an art fair in Miami and have been approached by an outfit which is organizing a fair in Miami. In almost every case I try to talk them out of it. Instead I advise them to visit Miami during the fairs, see a lot of them, and talk to people. I try to talk them out of the significant personal financial risk of doing an art fair on the fly.

In almost every case, the artist does it anyway. Later, in Miami, they often swing by whatever fair I am in... Their long, sad faces adding more evidence to my empirical data gathering on this subject.

Next: Enter the unethical artist and the art fairs.

Airborne

Airborne today and heading to the Left Coast, where I will be part of a panel at the Jordan Schnitzer Museum at The University of Oregon.

I hope the Ducks don't discover that I'm a Husky until after the panel!

Google, Google, Google.... Sigh

"Users of Google's services could soon see their profile name, profile photo or comments appear in online advertising."

Read all about it here.

Art’s Insidious New Cliché: Neo-Mannerism

Scads of artists are trying to be junior postmodernists. A phalanx of work has appeared that might be called "Modest Abstraction" or "MFA See, MFA Do." It's everywhere, and it all looks the same. In sculpture there's Anarchy Lite. Those post-minimalist formal arrangements of clunky stuff, sticks, planks, bent metal, wood boxes, fabric, old furniture, concrete things, and whatnot leaned, stacked, stuck, piled, or dispersed around a clean white gallery. There's usually a subtext about wastefulness, sustainability, politics, urbanism, or art history. That history is almost always straight out of sixties and seventies Artforum magazines or the syllabi of academic teachers who've scared their students into being pleasingly meek, imitative, and ordinary.

 Read excellent piece by Jerry Saltz here.

Congrats to Hemphill!

Congratulations to Hemphill, who this year celebrates its 20th anniversary - in gallery years this is like being 100!

You can't even imagine the hard work involved in achieving and surviving as a respected art gallery in this town for 20 years.

20 more!