SELECT 2015: WPA Art Auction Exhibition and Gala

SELECT 2015: WPA Art Auction Exhibition and Gala   

GALA: March 7, 2015, 7-11pm   

EXHIBITION: January 29 through March 6, 2015 

OPENING RECEPTION: Thursday, January 29, 7-9pm 

CURATOR TALKS: Thursday, February 12 and Thursday, February 19, 6:30-8pm

   

at Artisphere: 1101 Wilson Blvd, Arlington, VA 

Free parking with validation on evenings (after 5pm) and all day on weekends 

Metro: Rosslyn 

Circulator: Georgetown - Dupont  

Exhibition, opening reception, and curator talks are free and open to the public.

For Auction ticket information, please CLICK HERE TO PURCHASE or contact
Nathalie von Veh at 202.234.7103 x5 or nvonveh@wpadc.org

  

WPA's Annual Art Auction Gala is the highlight of DC's contemporary art world season! DC's longest running and most-established contemporary art auction, SELECT is an annually anticipated event that supports WPA and the artist community.  

SELECT 2015 features works available for purchase chosen by 8 of the region's top and emerging curators as well as selections by WPA's Board of Directors. Featuring works by established and emerging artists from DC, Baltimore, Richmond, and beyond, WPA's selection of exquisite, engaging, and exciting art works offer something for collectors both seasoned and aspiring.  

    

Auction Co-Chairs: Jessica Naresh, Judy & Andrew Sherman, and Robert Shields

Auction Host Committee: Martha Blalock, Heather Davis, Ayanna Dunn, Eric Hilton, Dr. Giselle Huberman, Jessica Naresh, Jill Pearlman, Amanda Phillips, Judy Sherman, Robert Shields, Henri Siblesz, Jessica Stafford-Davis, Vikki Tobak, and Blair Wunderlich

Emergency! Emergency!

I have just learned that The Gazette newspapers intend to terminate Dr. Claudia Rousseau's visual arts review column this coming Friday.  This is part of an apparent planned decimation of arts coverage in general by the Gazette newspapers (owned by the Washington Post).

We cannot just stand by and meekly allow this to happen. It is time for supporters of the visual arts to react by calling The Gazette, emailing them, writing them an old-fashioned letter, etc.

I suggest that you contact Will Franklin at wfranklin@gazette.net and send him an email on the subject. Here's a copy of the email that I sent this morning to Mr. Franklin:

Dear Mr. Franklin,

This note is to express both my disappointment and even outrage at the news that The Gazette intends to terminate Dr. Claudia Rousseau's visual arts coverage in The Gazette as part of an apparent decimation of its arts coverage in general.

While I suspect that the reasons behind these planned coverage cuts are all economic and due to reduction in overall coverage and reduction in size, I shouldn't have to remind anyone in the newspaper business that a newspaper's mission has several critical components that make it a newspaper and not just stuff printed on newsprint.

And coverage of the visual arts is a key one.

Unless you also plan to eliminate restaurant reviews, movie reviews, local events, etc. and reduce The Gazette to coverage of local High School sports, the idea that a "neighborhood" newspaper can be a contributor to its readership and part of the cultural tapestry of that neighborhood without critical components such as Dr. Rousseau's columns on the visual arts is a barbaric lack of understanding of what your readers deserve.

I also suspect, since The Gazette is owned by The Washington Post, that perhaps some of this "guidance" has come from above, most probably from bean counters as far removed from newsprint as possible. This is predictable, as the Washington Post is the only major newspaper in America (and possibly the world) without a visual arts critic in its permanent staff, and for the last two decades, since its last full-time gallery critic retired, has used a dizzying set of rotating freelancers to cover the Greater DC area visual art scene in an ad hoc manner.

Claudia Rousseau has been covering The Gazette's areas visual arts for over 11 years - that span is equaled by just one other published visual arts critic in the region. Ms. Rousseau's knowledge, access and insight into the area's visual arts cannot be lost by a simple reason of economics.

I plan to help rally the DC area's artists, gallerists, curators, collectors, donors and supporters to make sure that The Gazette (and the Washington Post) hear about Dr. Rousseau's termination. And for the first time in the many years that we've known each other, I plan to mix business with friendship and bring this to the personal attention of Jeff Bezos, whom as you probably know, is an ardent supporter of the arts.

I also intend to publish this note in DC Art News, and in the event that I receive an answer from you, or anyone else in The Gazette, will offer the opportunity to also publish your response.

Let me close this note by asking you to bring this issue to the attention of whomever is making this ill-advised decision; it will not happen without a lot of resistance from the DMV's visual art scene.

Warm regards,

F. Lennox Campello

Dirty tricks

When I went to vote this morning, I noticed that John Delaney's (who is my current Representative) signs were all strategically placed to block his opponent's signs (Dan Bongino) ... 

That dirty trick helped to inform my voting decisions.

eBay deal....

Wanna buy an original 1990s Campello watercolor on eBay?

Starting bid is less than $10 bucks! Heck of a deal! 

Weird how artwork seems to show up on EBay once in a while....   Check it out here

Open studios this Saturday!

The Art Studios at 633 F St. Terrace (John Giesecke, Ben Tolman, Adam Robert Hager, Rick Bach) invite you to join them for art, food, drinks & general studio mayhem
 

Saturday, November 8 at 4:00pm - 7:00pm

https://www.google.com/maps/@38.8820832,-76.9973178,3a,75y,56.45h,75.62t/data=!3m4!1e1!3m2!1sG_ARMM4F7seBbNJMDp4GyQ!2e0

Photo Slam is back!

EVENT #1
Photo Slam: The Exhibit
Come see the award-winning images from last year's hip, fast-paced PHOTO SLAM 2013.  Featured photographers are Michele Egan (1st Place), Serli Lala (2nd Place), Julie Miller (3rd Place) and Pablo de Loy (Audience Choice Award Winner). 

Exhibition Dates:  October 10 - November 17, 2014
Reception and Gallery Talk:  Sunday, November 9, 2014, 6-8 PM

Gallery Hours: 
Saturday, 1-4 PM and Sunday, 1-8 PM (and any time a photography class is underway)

Gallery Information:
Photoworks Gallery and Photography School
7300 MacArthur Blvd
Glen Echo, MD

Cost:
Exhibition Reception and Gallery Talk are free to the public

Questions?  For more info, visit Photoworks at http://glenechophotoworks.org/2014/10/08/photo-slam-exhibition/

Photo Credits: That's "Mary Jane" on the left above by last year's 1st Place Winner, Michele Egan.

EVENT #2
Photo Slam: The Event
In partnership with FotoWeek DC, Photoworks is bringing back the Slam - and Photo Slam 2014 promises to be better than ever.  For the fifth year in a row, DC's urban arts hub Busboys and Poets will play host as photographers vie for prizes, recognition and “street cred” in this fast-paced competition of projected images.  Free to the public – but arrive early to assure yourself a spot.  This event typically sells out.  For more information, check out http://glenechophotoworks.org/2014/10/08/slam/
 
Date:  Sunday, November 16, 2014
Time:  8:00 - 10:00 PM (Arrive early!  Event typically sells out.)
Place:  Busboys and Poets, 2021 14th Street, NW, Washington, DC  (2 blocks from Metro's U Street/Cardozo Station)
Cost:  Event is free, but the suggested donation is $20

Are You Interested in Entering the November 16th Photo Slam Competition?
Trust us... its easy and fun!  Visit http://glenechophotoworks.org/2014/10/08/slam/ for the rules.  Deadline is 11:59 PM on November 13th.  Questions?  Contact Photoworks' John Borstel at borgrav@his.com

Photo Credits:  Photo Slam 2014 - Image by David Myers

EVENT #3
Photo Slam: The Hangover Brunch
Come to Photoworks and bask in the afterglow of another successful Photo Slam!  Participants from the Photo Slam 2014 are invited to Photoworks Photography School & Gallery on November 23rd from 10:00 am - 12:00 noon to help us "crowd source" a one day exhibition -- flash mob style!  Don't miss the action (or the drinks).  Bring your flash drive with 5-7 images to Photoworks Gallery at historic Glen Echo Park.  We'll project your images and offer up free critiques.  Meet fellow photographers, Photo Slammers, and Photoworks faculty and show us what you've got!  Check out our website at www.glenechophotoworks.org for more details.

Date:  Sunday, November 23, 2014
Time:  10 am - 12 noon
Place:  Photoworks Photography School & Gallery, 7300 MacArthur Blvd, Glen Echo Park, MD
Cost:  FREE
Questions?  For more info, visit http://glenechophotoworks.org/2014/10/08/photo-slam-hangover-brunch/ or contact Photoworks' John Borstel at borgrav@his.com

SFS Fundraiser Auction

I know that we artists are always been asked to either donate our time (panels, jury duty, etc.) and also donate artwork for auctions. It is often hard to say no, especially when the cause is really good. I know that I generally donate 8-10 pieces of artwork a year for charity and one of my pet peeves is that the IRS only allows artists to deduct the costs of materials. However, if a collector or anyone other than the artist donates the work, then they can deduct the full cost of the art. This sucks, but then again the entire IRS construct sucks (as it is today).

Sidwell Friends is easily one of the best schools on the planet, and one part of their focus which I really admire is how hard they work to make the school available to families who can't afford the school's hefty costs. And this is why I'm supporting their yearly auction fundraiser for scholarships.

Donate here.

Bloomberg Art Challenge

Bloomberg Philanthropies has launched the “Public Art Challenge,” a program which will grant at least three cities with populations greater than 30,000 up to $1 million each over two years to develop public art projects that “celebrate creativity, enhance urban identity, encourage public-private partnerships and drive economic development.”  The Public Art Challenge invites mayors to collaborate with artists and arts organizations in developing innovative temporary public art projects that engage residents and attract visitors.

The City of Philadelphia invites all interested organizations and artists to submit their ideas for the Public Art Challenge.  Applications will be accepted by the Office of Arts, Culture and the Creative Economy (OACCE) on behalf of the City of Philadelphia.  The OACCE will review all applications alongside an independent selection panel and make recommendations to the Mayor on which proposal(s) to move forward.  The OACCE will work with the selected applicant(s) to develop an initial application to Bloomberg Philanthropies.  If Philadelphia is selected as a Public Art Challenge finalist, the OACCE will work with the recommended applicant(s) to develop a full proposal. 

Both the initial application and full proposal will be submitted by Mayor Michael A. Nutter.  

The OACCE will accept proposals from all artistic disciplines – including but not limited to visual arts, performing arts, and multimedia projects.

My question is.... Is Washington, DC participating? For that matter any and all cities around the DMV that qualify? Are you listening Bethesda, Rockville, Alexandria, etc.? 

Click here for complete application details about the City of Philadelphia’s Bloomberg Philanthropies Public Art Challenge.

Before you vote...

See this:

WPA wins 2014 Mayor's Arts Award for Excellence in Service to the Arts

Yay!

WPA is extremely proud and grateful to be the recipient of the 2014 Mayor's Arts Award for Excellence in Service to the Arts. The Mayors Arts Awards are the highest honor conferred by the District of Columbia for artistic excellence and service among artists, arts organizations, and arts patrons.

Our members and participating artists share equally in this award for ensuring our programming is of the highest caliber. Thanks to all of our supporters and patrons for allowing us to do what we do. And thank you to all of our artists for continuing to experiment and explore and create. You all make this city, this community, this world a better place for your efforts.

Many thanks to the DC Commission the Arts & Humanities, Mayor Vincent Gray, the DC City Council, the enlightened and distinguished jury who selected us, and our fellow finalists and nominees who continue to set the bar so very high for the arts in DC.

Development Workshops

Gateway Community Development Corporation's list of workshops and tentative dates are as follows:

1. Marketing Your Business Plan - Saturday November 1st between 2-4pm
2. Leveraging The Lending Tree - Wednesday November 5th or Thursday the 6th from 9-11am
3. Affordable Health-care (* possible panel discussion) (TBD)
4. Back to Basics: Business 101 - Wednesday December 3rd from 9-11am
5. Enhancing the Creative Industry. An Artist Conversation on Marketing & Selling Art - Wednesday December 10th from 9-11am
6. Maximizing Social Media - Saturday December 13th from 2-4PM

This weekend at the Katzen

November 2nd at AU -- Gallery Talk: Some Uses of Photography: Four Washington Artists 
 
Join curator Phyllis Rosenzweig for a discussion on the evolution of photography since the 19th century and the variety of techniques seen today. Presented in conjunction with the Feminist Art History Conference. For more information and conference registration: http://www.american.edu/cas/art-history/femconf/

SCULPTURE NOW 2014

SCULPTURE NOW 2014
November 4, 2014 - December 14, 2014

OPENING RECEPTION: Saturday, November 8, 2014, 6 - 9 pm

Presented by WASHINGTON SCULPTORS GROUP at the 

American University Museum at the Katzen Arts Center
4400 Massachusetts Avenue NW
Washington, DC 20016

Juror: Dr. Jack Rasmussen, Curator, American University Museum

PARTICIPATING ARTISTS c.l. bigelow, Julia Bloom, Greg Braun, Carol Brown Goldberg, Elizabeth, Burger, Joel D’Orazio, Mary Early, , Mila Kagan, Jin Lee, Dalya Luttwak, Elizabeth Miller McCue, Mike Shaffer, Foon Sham, Lynda Smith-Bugge, Garrett Strang, Janet Wheeler, Julie Zirlin
https://www.facebook.com/events/1528865287331382/

Heading to Miami in December

We will be once again participating in the CONTEXT Art Miami art fair in Wynwood during Art Basel week in December. This is one of the top art fairs from a field of close to 30 satellite fairs to ABMB.

CONTEXT continues its success by expanding and redesigning the fair. Seventy-eight international galleries from 20 countries, with more than 460 artists from 43 countries have been carefully chosen by the selection committee consisting of Ethan Cohen, Enrique Guerrero, Alberto Magnan & Dara Metz and Leigh Conner & Jamie Smith, led by new fair director Julian Navarro, to bring Miami Art Week (Dec 2-7 2014) the most promising cutting-edge, mid-career and established artists.

CONTEXT is dedicated to the development and reinforcement of emerging and mid-career artists. Launched in 2012, CONTEXT's open atmosphere creates a meaningful dialogue between artists, galleries and collectors while providing the ultimate platform for the presentation of cutting-edge talent by emerging and established galleries. The combined efforts of CONTEXT and Art Miami provide a unique and alternative opportunity for leading primary dealers and their artists to be marketed and promoted internationally during the most important week for contemporary art in America.

In addition to its group of international galleries, CONTEXT will feature a series of solo artist projects, curated spaces, special projects, conversations and events.

Special Projects Highlights

The Director's Project "CONTEXT-ing / Listening as CONTEXT", creates immersive and intimate situations for listening to the work of sound artists exploring the ontological aspects of sound while also working with various materials, approaches, and techniques. CONTEXT-ing / Listening as CONTEXT will be premiered on the VIP opening night in the 2600sq. ft Sound Positions Pavilion - a dedicated space annexed to the main CONTEXT pavilion featuring 12 individual sound stations, making it the most important and largest sound project in an art fair - and continues during fair hours from December 3rd - 7th. Artists include: Tania Candiani, Mexico; Richard Chartier, USA; Richard Garet, Uruguay / USA; France Jobin, Canada; Emeka Ogboh, Nigeria; Kristin Oppenheim, USA; Manuel Rocha, Mexico; Steve Roden, USA; Hong-Kai Wang, Taiwan; Hildegard Westerkamp, Germany / Canada; Jana Winderen, Norway; Zimoun, Switzerland.

ART FROM BERLIN offers insight into Berlin's influential art scene with six contemporary galleries selected by a panel of Berlin based curators and art critics. In the BERLIN LOUNGE, lvbg will install a curated exhibition and offer information on the city's contemporary art galleries and institutions. This microcosm of the global art capital's gallery community includes a cross-section of established and emerging exhibitors. ART FROM BERLIN is presented at CONTEXT by the Galleries Association of Berlin (lvbg), with official support from the municipality of Berlin and the European Union (EU).

CONTEXT-NEXT. "A Piece of Me" features visual arts students from the high school honors class of Miami's renowned New World School of the Arts collaborating to produce site-specific installations in response to a significant artwork by an acclaimed alumnus from their school, Hernan Bas: a video in the collection of the Museum of Modern Art, "All By Myself" (2004, single-channel video, courtesy of the artist and Frederic Snitzer Gallery). The young collaborators will work in the antithetical medium of paper, and the results exhibited with the video by their predecessor, Hernan Bas. "A Piece of Me" is a Wet Heat Project in association with New World School of the Arts, Visual Arts Program.

CONTEXT has partnered with Miami Light Project for the highly anticipated Opening Night VIP Preview. Latin Grammy Nominated artist/producer Mr. Pauer will perform an exclusive selection of his signature sound Electrópico™ filled with live percussion and an array of guest singers turning the night into a memorable experience. Miami Light Project will stage a selection of performances that will take place in the CONTEXT Outdoor Garden Lounge daily during General Fair Days between 3PM - 7PM. These music programs are all free in the CONTEXT Outdoor Garden Lounge.

CONTEXT and its sister art fair Art Miami, the original and longest-running art fair in Miami, celebrating its 25th year, will both feature exceptional artworks exhibited in highly visible areas of the pavilion - inside and outside the main entrances of the fairs, the Maserati VIP Lounge at Art Miami, and the VIP Lounge at CONTEXT, amongst others.  All works will be selected by LaRete Art Projects curators Julia Draganović, Elena Forin and Claudia Löffelholz.

2014 CONTEXT Exhibitor List

DETAILS >

532 Gallery Thomas Jaeckel, New York Accola Griefen, New York City Alida Anderson Art Projects, Washington, DC Amstel Gallery, AMSTERDAM, New York Amy Li Gallery, Beijing Andrea Schwartz Gallery, San Francisco Anna Kustera, New York Arch Gallery, Miami Bankrobber, London Beatriz Esguerra Art, Bogota Beatriz Gil Galeria, Caracas BERLIN LOUNGE by lvbg, Berlin Bernarducci Meisel Gallery, New York BLANK SPACE, New York Bluetomato Gallery, London Caldwell Snyder Gallery, San Francisco Camara Oscura Galeria de Arte, Madrid Coagula Curatorial, Los Angeles Converge Gallery, Williamsport Curator's Office, Bethesda Da Xiang Art Space, Taichung Denise Bibro Fine Art, New York Eduardo Secci Contemporary,    Florence, Pietrasanta Emmanuel Fremin Gallery, New York Ethan Cohen, New York Fabien Castanier Gallery, Culver City Frederic Got, Paris Galeria Alfredo Ginocchio, Mexico City Galeria Athena Contemporânea, Rio de Janeiro Galeria Casa Cuadrada, Bogota Galeria Enrique Guerrero, Mexico City galerie bruno massa, Paris Galerie Friedmann-Hahn, Berlin Galerie Kornfeld, Berlin Obrist Galerie, Essen, Düsseldorf Galerie Robert Drees, Hannover Galleria Doris Ghetta, Ortisei Gallery Henoch, New York City

Grundemark Nilsson Gallery - Swedish     Photography, Berlin, Stockholm JanKossen Gallery, Basel, New York JJ Joong Jung Gallery, Seoul Joerg Heitsch Gallery, Munich Jonathan LeVine Gallery, New York K Imperial Fine Art, San Francisco Kavachnina Contemporary, Miami Kim Foster Gallery, New York City Klein Sun Gallery, New York LÄKEMÄKER, Berlin Licht Feld, Basel Lyle O. Reitzel Gallery, Santo Domingo Magnan Metz Gallery, New York Matilde Bensignor, Buenos Aires Metroquadro, Rivoli Olga Korper Gallery, Toronto OPIOM Gallery, Opio Patricia Conde Galería, Mexico City PENTIMENTI GALLERY, Philadelphia Pictura Gallery, Bloomington Robert Fontaine Gallery, Miami Samuel Owen Gallery, Greenwich Sasha D. Espacio de Arte, Córdoba Set Espai D'Art, Valencia, Jávea Shine Artists, London Shirin Gallery NY, New York Sim Smith Gallery, London Sous Les Etoiles Gallery, New York Susan Eley Fine Art, New York Tammen & Partner, Berlin ten472 Contemporary Art, Nevada City Tezukayama Gallery, Osaka The McLoughlin Gallery, San Francisco Vimm Gallery, Prague VisionQuesT contemporary photography, Genova Vohn Gallery, New York WHITE ROOM | Liquid art system, Capri, Positano Wichtendahl Galerie, Berlin Witzenhausen Gallery, Amsterdam

Hours and Location

FAIR HOURS

VIP Preview
Tuesday, December 2 | 5:30pm - 10:00pm
Access for VIP Cardholders and Accredited Press
to benefit:  the Pérez Art Museum Miami (PAMM) and Miami Light Project.  

GENERAL ADMISSION

Wednesday, December 3 through
Saturday, December 6  |  11am - 8pm
Sunday, December 7 | 11am-6pm 

Arts Integration and Special Education -- An Inclusive Theory of Action for Student Engagement

Another author in the Campello household!

The Professor's first book is about to be released, and this book is the seminal book in its field... and for the first time delivers empirical research data to a field accustomed to anecdotal data...

Details here.

Arts Integration and Special Education contributes to research, policy, and practice by providing a theory of action for studying how linguistic, cognitive, and affective student engagement relates to arts integrated learning contexts and how these dimensions of engagement influence content area and literacy learning.

Arts Integration and Special Education connects the interdisciplinary framework in human development and linguistics, special education, and urban education with primary action research by special educators trained in arts integration, working in an inclusive urban charter school with middle school age students. Upper elementary to middle-grade level student learning is relatively understudied and this work contributes across fields of special education and urban education, as well as arts education. Moreover, the classrooms in which the action research occurs are comprised of students with a diverse range of abilities and needs. The book’s interdisciplinary model, which draws on developmental and educational psychology, special education, and speech/language pathology research and practice, is the first to posit explanations for how and why AI contexts facilitate learning in students with language and sensory processing disorders, and those at-risk for school failure due to low socioeconomic status conditions.

The bus is all warmed up!

Opportunity for Artists

The Historical Society of Washington, D.C. (HSW) has announced the launch of “For the Record: Artfully Historic D.C.”, a new program to capture and preserve scenes of the District’s built environment. 

 

Co-sponsors include the DC Preservation League, the Capitol Hill Art League, and the National Building Museum. The initiative seeks submissions of paintings and photography for the juried competition by February 1, 2015.

Continuing on its long tradition of collecting artworks that depict life in Washington, the Historical Society partnered with the DC Preservation League to develop its list of Most Endangered Places. That list will provide local artists with the subjects for art and photo submissions to a juried contest. The Capitol Hill Art League is helping guide the competition process.

Details here.

Lessons for Artists

An oldie but goodie from seven years ago with plenty of lessons for artists:

My post on the subject of the unfortunate theft of Afrika Midnight Asha Abney’s work from a restaurant show, and the subsequent issue of who (if anyone) pays for the loss, and my mention of why it is important to have contracts when forming a business association with a gallery or dealer - or any exhibition venue, for that matter – brought an unexpected deluge of emails from artists (and one gallerist) asking why a contract is such a big deal.

Let me give you some examples:

1. Take Afrika’s case: An artist has a show and someone steals a piece of art. What happens next? With a signed contract, the artist would know ahead of time that either (a) the gallery has no insurance, in which case the theft is a full loss, or (b), the gallery has art insurance, in which case (a) the gallery puts a claim in with the insurance company, or (c) the artist deals directly with the insurance company. And, by the way, in the event that there’s insurance, don’t expect to get the full value of the stolen work, but in most cases (and policies) only the 50% commission that you’d have received in the event that the work had sold instead of being stolen.

2. Talking about commissions; how do you know, other than a handshake, what the gallery’s commission is? Let’s say that you are told that the commission is 50% (the general standard for independent commercial fine arts galleries around here). Is that 50% of the price of the piece or 50% of the final sales price? I know of at least one major DC area art gallery that has a record of really screwing artists by giving them 50% of an agreed price for a piece; however, the gallery also often sells the piece for a lot more money to its out of town collectors and keeps the difference. Here’s how it works. The artist agrees to sell the photographs for $500 each and thus expects a commission of $250. The unethical gallerist sells some for $500, and some to its out-of-town clientele for $1000, but gives the artist the same $250 commission on those sales.

3. But let’s say that you have approached a gallery, and show them the works, and discuss representation, and the gallerist agrees to hang some of your work in his next group show. You are not sure if you are “represented” in the sense of the word as you understand it, but shake on it and prepare for your first appearance in a well-known gallery and invite all of your family and friends. At the packed opening, your second cousin-once-removed is admiring one of your huge watercolors, which are tacked onto the wall in a really cool post-post-post-modernist style. He leans forward to admire your brushwork and accidentally spills his white wine onto your watercolor, immediately making your representational work of art into a messy abstraction. What happens next? Does insurance cover damage? Is there insurance? Is that the guy who spilled the wine making a dash for the door?

4. Having learned your lesson, at your next opening you resign yourself to getting your new work framed and spend a ton of money getting them framed at the most affordable (in other words cheapest) possible way, but still spend a considerable amount of shekels -- because as everyone knows, framing is very expensive (unless you attend the Boot Camp for Artists Seminar and learn how to cut framing expenses by 80%). When you deliver the works to the gallery, the gallerist goes into fits about your gold leaf rococo frames from Target and silver acidic mats and refuses to hang the work. A good contract would have specified ahead of time all issues dealing with framing and presentation standards.

5. Having calmed down, the gallerist then offers to re-frame all the work for you. You accept with a sigh of relief, and at the opening your 20 newly framed watercolors look great in the 8-ply pH-balanced, acid free mat board, under UV glass and Nielsen mouldings and backed by half-inch, acid free, pH-balanced foam core. You sell four pieces and are happy that things worked out in the end. A few weeks later you get a huge bill in the mail from the gallery; it is what remains of the framing bill after the gallery applied all of your commission to the total framing bill. A good contract should also specify the economic who’s and what’s of any framing done by the gallery.

6. Your relationship with the gallery is now seriously on the rocks, but then you are told that a review in Art News will come out soon. Three months after your show has closed the review finally comes out in Art News and it’s a good one. A young computer geek in Bala Cynwood, Pennsylvania, who is waiting to see his doctor for his annual physical reads that Art News review while waiting in the doc’s office, sees the nice reproduction of your work and after he goes home, looks you up on the Internet and contacts you directly and tells you that he read the review of your gallery show in Art News and wants to buy the painting reproduced in the magazine. You sell him the painting and put all your money in the bank. Sixteen minutes after the painting is delivered to Bala Cynwood, the gallery gets a call from a collector in Spokane, Washington who has also read the Art News review and wants to buy that painting. The gallerist calls you and tells you the good news. You are ecstatic that two people want your painting, but then you tell the gallerist that someone else in Bala Cynwood read the review and that you sold the painting to that person. The gallerist congratulates you on the sale and then asks you to make sure that you send him the gallery’s commission. You are confused because you had no idea that you owed the gallery a commission.

7. Your review in Art News has opened a few doors for your artwork and you are invited by a non-profit art venue to have a solo show at their space in a year. You are pleased and tell everyone, including the gallerist, who informs you that because his gallery represents your work, you are not allowed to exhibit anywhere else in the city, or maybe the area, or maybe the state, or maybe the US, or maybe the world.

8. Then your Alma Matter, impressed with your artistic prowess, invites you to a group show of alumni artwork in the school’s gallery. Since you attended art school in another state, you are pretty sure that it will be OK to show there, because after the last confusion, you discovered that the gallery had exclusive representation for your work only in DC, MD and VA, and your art school is in Brownsville, Texas. You tell your gallerist, and because he has never heard of Brownsville, Texas, he looks it up in the Internet and then he informs you that if you exhibit your artwork in “certain places” it will bring the reputation of the gallery down and thus the gallerist doesn’t want you to exhibit in Brownsville, Texas – or anywhere in Texas, Arkansas and Nebraska for that matter.

9. You beg and plead because you really want to impress your ex-girlfriend in Texas, and the gallerist allows you to include one piece in that alumni show, but makes it clear that he needs to be consulted on any and all exhibitions of your work. And so you exhibit your best piece in Brownsville and a New York gallerist, who happens to be a Robert Ervin Howard admirer, visits Brownsville to pay homage to REH's birthplace and decides to check the local yokels show at the art school. Because your immense watercolors are the largest works in the show, they catch his attention and he jots down your name. Weeks later his intern calls you and tells you that they want to show some of your work in their next group show. This is really hitting the big time, and you announce to your gallerist that a big shot New York gallerist is including you in his next group show. He congratulates you and reminds you that you owe him 10% of any sales made in New York, or in Brownsville, Texas, or anywhere for that matter. You rant and rave and ask why, and he tells you that the reasons for your recent success all lead back to the exposure that he has given you. You demand to know why none of this stuff was made clear from the beginning. The gallerist answers that “everyone knows this,” and that he “likes to operate on a handshake and without a contract.” You then realize that you have him by the balls, since you have no signed contract with him or his gallery, and tell him that you are leaving. He says some threatening stuff about verbal contracts, but you walk away anyway, wondering how you are going to get back the six paintings of yours that your soon-to-be-former gallerist still has in storage.

10. Nonetheless, New York is New York, and you go visit the big shot New York gallerist and meet with him, and over a handshake he agrees to put you in a group show and tells you that his commission is 60% - You are not sure if you are “represented” in the sense of the word as you understand it, but shake on it and prepare for your first appearance in a New York City gallery and invite all of your family and friends...

And more congrats!

FY15 Grant Awardees - City Arts Projects - Individuals

Name	Ward	Award Amount
Andrene Taylor	5	$8,000
Christylez Bacon	1	$10,000
Cory Oberndorfer	3	$7,000
Daniel Singh	4	$8,000
Denaise Seals	4	$4,050
Dwayne Lawson-Brown	8	$7,350
Edward Daniels	1	$8,000
Holly Bass	1	$10,000
Jack Gordon	5	$7,200
John Johnson	8	$7,000
Joy Jones	5	$6,850
Kim Roberts	1	$4,000
Maud Arnold	3	$10,000
Mia Choumenkovitch	2	$10,000
Monica Bose	1	$10,000
Regie Cabico	1	$5,600
Rex Weil	3	$8,000
Robert Bettmann	4	$5,950
Ruth Stenstrom	1	$10,000
Sandra Johnson	5	$8,000
Shawn Short	7	$7,500
Stanice Anderson	8	$4,500
Stephen Spotswood	6	$8,000
Will Stephens	2	$10,000

Congrats!

FY15 DCCAH Grant Awardees

Artist Fellowship Program

Name	Ward	Award Amount
Adam Davies	3	$10,000
Allison Stockman	2	$7,500
Anna Davis	4	$7,500
Anne Bouie	1	$5,000
Assane Konte	5	$3,800
Carmen Torruella-Quander	5	$5,000
Cecilia Cackley	6	$5,000
Cheryl Edwards	6	$5,000
Chloe Arnold	3	$5,100
Christopher Dolan	3	$7,500
Christylez Bacon	1	$7,500
Cory Oberndorfer	3	$5,000
Dana Flor	3	$7,500
Daniel Singh	4	$6,500
Daniel Vera	5	$7,500
Danielle Mohlman	6	$10,000
Davey Yarborough	4	$5,000
Dawne Langford	1	$7,500
Edmund Baker	1	$5,000
Elizabeth Acevedo	6	$10,000
Ellington Robinson	1	$7,500
Emiliano Ruprah	4	$5,000
Evangeline Montgomery	4	$7,500
Farah Harris	6	$10,000
Fawna Xiao	6	$5,000
Frederic Yonnet	6	$10,000
Gediyon Kifle	2	$7,500
Holly Bass	1	$6,500
Ian Jehle	1	$5,000
James Byers	7	$5,000
Jane Remick	1	$7,500
Jared Davis	4	$10,000
Jarvis Grant	1	$5,000
Jennifer Clements	3	$7,000
Jennifer Nelson	5	$10,000
Jessica Beels	1	$10,000
John Copenhaver	6	$7,500
Jonathan Monaghan	5	$10,000
Joyce Wellman	1	$5,000
Joyce Winslow	3	$9,000
Juan Mayer	2	$5,000
Kathryn McDonnell	3	$5,000
Kea Taylor	1	$5,000
Khanh Le	5	$7,500
Kim Roberts	1	$7,000
Lance Kramer	1	$5,000
Laura Zam	1	$10,000
Linn Meyers	4	$10,000
Lynn Welters	4	$3,800
Margot Greenlee	6	$6,500
Marion (Rik) Freeman	7	$10,000
Marjuan Canady	4	$5,000
Marta Perez Garcia	5	$5,000
Martine Workman	6	$10,000
Mary Early	6	$7,500
Mary Hanley	4	$5,000
Mary Kay Zuravleff	3	$9,000
Maryam Foye	7	$10,000
Maureen Andary	4	$5,000
Michael Janis	5	$10,000
Michael Sirvet	2	$10,000
Mickey Terry	7	$7,500
Mike Osborne	3	$10,000
Molly Springfield	1	$10,000
Monica Bose	1	$5,100
Nathaniel Lewis	1	$5,000
Nekisha Durrett	4	$10,000
Nicole Lee	2	$9,000
Niki Herd	4	$5,000
Noah Getz	3	$10,000
Paul Gordon Emerson	1	$5,100
Rachel Grossman	4	$10,000
Rachel Kerwin	5	$5,000
Rachel Louise Snyder	3	$5,000
Rania Hassan	5	$5,000
Regie Cabico	1	$10,000
Rex Weil	3	$5,000
Richard Cytowic	4	$10,000
Samuel Miranda	4	$5,000
Sara Curtin	1	$5,000
Sarah Browning	3	$9,000
Sarah Ewing	6	$3,800
Shahin Shikhaliyev	3	$5,000
Sondra Arkin	2	$5,000
Tamela Aldridge	4	$5,000
Tatyana Safronova	3	$5,000
Taurus Broadhurst	5	$3,800
Tessa Moran	6	$10,000
Thomas Beveridge	3	$5,000
Thomas Colohan	1	$10,000
Tim Tate	2	$10,000
Timothy Johnson	2	$7,500