Death on Tik Tok

The arrival of Death will be on Tik Tok
2022 watercolor by Florencio Lennox Campello

 

Arlington Art Center to become a museum

The Arlington Arts Center will reopen on 1 October as the Museum of Contemporary Art Arlington!

Cool or what?

Lucky find

A few years ago I told you how I sneak artwork in Thrift shops... perfect way to dispose of frames which have seen better days. etc.

Anyway... recently I placed some art school vintage works in a very large area Thrift store, and even before I had left the store, I noticed that the below sharp-eyed collector had already snatched two of the four pieces that I had placed in the shelves!!!

She left behind this etching of Che Guevara behind... maybe not a big fan of the Argentine mass murderer.

The mass murderer Ernesto Che Guevara
1978 litho by Florencio Lennox Campello

On the subject of photographers

You can put money on this: a thousand years from now, there will still be photographers who still use the techniques of that profession that were invented at the beginning of photography itself. There is something so attractive to the masters of the darkroom about photographic processes such as handmade prints from glass negatives, and other 19th century processes such as Platinum Palladium, Cyanotype, Oil, Carbon, Gum Bichromate, VanDyke Brown, Salted Prints, Tintypes, and Ambrotypes.

Virginia’s Sally Mann, not only one of the planet’s top photographers, but also someone who has been a contemporary pioneer in revitalizing some of these archaic techniques, often speaks of “old-time, folksy, soulful, artisanal processes”… that “slicker technologies have displaced.”

She labels these processes “holistic.

Wanna see some of these holistic processes and the gorgeous works that they yield?

At Glen Echo Park’s Photoworks Gallery, “a group of likeminded photographers presents work that is more than just nostalgia. Each photographer lends her/his own voice with their unique, hand-made images, some of which are augmented by hand tinting. While the images are contemporary, the artisanal nature of the images harkens to an earlier age. The tension between these qualities makes them TIMELESS.”

Represented in the exhibit are works by Rodrigo Barrera-Sagastume, Paige Billin-Frye, Mac Cosgrove-Davies, Scott Davis, Sebastian Hesse-Kastein, William Shelton and Redeat Wondemu.

In addition to the opening, Photoworks will be offering related demonstration and hands-on events during the exhibition:

Zoom Artist Talk (Friday, July 15, 7-8pm) – for those unable to attend the opening, this is an opportunity to hear from and interact with the artists. Learn about the artist and their vision, their chosen photographic processes and related classes offered at Photoworks.

Champagne and Platinum (Friday, July 22, 7-10pm at Photoworks) - spend a delightful evening with the Alt-Photo crowd in the Photoworks Gallery sipping bubbly and watching a live demo of the platinum printing process. Platinum printing allows delicate rendering of image detail with an astonishing tonal range and legendary permanence. ($20 per person)

Wet Plate Demonstration (Saturday, July 23, 11am-2pm at Glen Echo Park) – This is a live demonstration of the photographic process that was dominant from the 1850s-70s (i.e during the US Civil War. The photographer must sensitize, expose, and develop the plate in a matter of minutes, using a portable darkroom. Results are available immediately.

Sun Printing (July 30, 11am-2pm) - A family friendly fun-for-all where everyone makes cyanotype shadowgrams. This is an excellent introduction to cyanotype process. Cyanotype is the simplest historic photographic process to learn. It also can deliver extraordinary creative expression.

Staying on the theme of photography, and through July 24, Multiple Exposures Gallery presents an exhibition of New Photography by Tom Sliter titled "Cold Warriors." On exhibit is “a series of images that takes a different look at the aircraft that defined the Cold War. Rather than focusing on the aircraft’s characteristics, the exhibit delves into the underlying design elements -- the grand sweeps, smooth lines, sharp angles, and graceful curves that are a hallmark of pushing boundaries.”

Multiple Exposures is located inside the Torpedo Factory Art Center in Old Town Alexandria, one of the great art jewels of the Mid Atlantic.

37TH Annual Mayor's Arts Awards

The 37TH Annual DC Mayor's Arts Awards will take place in September 2022! 

Please visit www.dcmayorsartsawards.com for more information and to RSVP -- Click here to create an account and to vote!

Me bitchin' to the WaPo in 1995

A general rule of any code of ethics is that if something feels funny or unethical, then it probably is. Add a corollary -- if an action, whether ethical or not, gives the appearance of being unethical, then it is -- and you have a problem with the NMAA and its legacy from the late artist Gene Davis.

Read my Letter to the Editor from 1995 here.

Artist Panel: Home-Land: Exploring the American Myth

Curators Michael Quituisaca and Alexandra Schuman, together with the artists of the exhibition "Home-Land Exploring the American Myth" at  the American University Museum at the Katzen Arts Center will present an artists' discussion and talk panel this coming Sunday!

Free! Sign up online here.

Date and time: Sun, July 17, 2022 at 1:00 PM – 2:00 PM EDT

Location:

American University Museum at the Katzen Arts Center

4400 Massachusetts Avenue Northwest

Washington, DC 20016

Taking advantage of the museum’s proximity to the Department of Homeland Security’s Nebraska Avenue Complex, this exhibition explores the impact that American culture has on its citizens both naturalized and native. Using American iconography, consumer and visual culture, and personal experience, the featured eight Washington area artists simultaneously honor and confront the American dream. The idea of “home” is a promise in America that often goes unquestioned. However, these artists reveal that home is not a privilege for all - for some it is taken, for others it is to be fought for and defended, and, for many artists in the show, it is reforged in a new land. This exhibition, "Home-Land: Exploring the American Myth" highlights how these artists have found their place within multiple frameworks of identity, both ascribed and subscribed.

Artists showing: Sobia Ahmad, F. Lennox Campello, Elizabeth Casqueiro, Ric Garcia, Claudia "Aziza" Gibson-Hunter, Julia Kwon, Khánh H. Lê, and Helen Zughaib

This event will be held in-person at the museum.

Anniversary of the July 11 uprising

Last year, and for the first time (at least in my memory) there were widespread protests in Cuba - the shouts were for "Libertad" which means "freedom."  Thousands of people were arrested, many were murdered and many disappeared.

There are planned protests on the first anniversary, and the Marxist dictators are sure to react with a bloody reprisal again - let's pray for these brave men, women and children on the streets of that poor brutalized island!

"Isla Herida"
1980 F. Lennox Campello
Original Watercolor
In a private collection in Coral Gables, FL

And here again is the flag for the uprising that I designed last year! A take-off on the 26th of July flag - this one has the colors of the Cuban flag (Red, White and Blue).  The red stripe is slightly larger than the blue, in honor of the blood being spilled on the streets of Cuba.  The "11J" in white is for 11 July!

11 July Uprising Flag
by Florencio Lennox Campello

#11J

Opportunity for DMV artists

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Want your art critiqued?

When: Tuesday, July 12 at 6pm EST

Who: Art Clinic Online

LINK: https://us02web.zoom.us/j/7135915273

ACO will continue to discuss art in general and conduct some friendly critiques of art. If you would like feedback on your work, kindly send images to Mariana (mkastrin@gmail.com) before the Tuesday session. Suggested topics for discussion are welcome.

The day I found myself in a metaverse of Frida Kahlos

More early odd works from current scanning of old art slides... this is "The day I found myself in a metaverse of Frida Kahlos" from 1980, when I was in art school at the University of Washington in Seattle.

Artist Panel: Home-Land: Exploring the American Myth

Artist Panel: Home-Land: Exploring the American Myth

Sunday July 17, 1-2PM at American University Museum at the Katzen Arts Center.

Artist Panel: Home-Land: Exploring the American Myth
July 17, 1-2 p.m. ET
Register on Eventbrite to attend in-person or virtually

Artists showing: Sobia Ahmad, F. Lennox Campello, Elizabeth Casqueiro, Ric Garcia, Claudia "Aziza" Gibson-Hunter, Julia Kwon, Khánh H. Lê, and Helen Zughaib

This event will be held in-person at the museum. 

RIP Sam Gilliam

 Just heard the sad news that the great artist Sam Gilliam has died.

Last week I wrote about Sam's first ever major museum show in DC area. My feelings here.

I will judge this year’s "Paint the Town" Labor Day Show

It will be soon announced that yours truly will be the judge for this year’s "Paint the Town" Labor Day Show sponsored by the Montgomery Art Association

The Paint the Town Labor Day Show is one of the region’s largest and longest-running art shows composed of all local artists. The show will be open to the public Saturday-Monday, September 3-5, and I will do both the closed-door judging and then and on Saturday, September 3, I will also judge the plein air competition and then present the awards. 

About the Plein Air Competition: As you walk around Kensington on the Saturday of the show weekend, you'll see dozens of artists painting and drawing all over town. Those are participants of the annual Plein Air Competition. From 7 am-3 pm, adults and children complete paintings with a Kensington theme and submit them for prizes awarded by me. The competition is open to all adults and children. Free for children under 18 and current MAA members; adults pay $10 per person. Registration opens July 15.

Details here.

Schedule 

FRIDAY, JULY 15: Call for entries opens (members only)

SATURDAY, SEPTEMBER 3: Exhibit floor open 11 a.m.-5 p.m. and Plein air art competition, 7 a.m.-3 p.m. -- Awards ceremony, 6-8 p.m.

SUNDAY, SEPTEMBER 4: Exhibit floor open, 11:00 a.m.-5:00 p.m. 

MONDAY, SEPTEMBER 5: Exhibit floor open, 10:00 a.m.-5:00 p.m. Pick up purchased artwork, 5:00-8:00 p.m.

TUESDAY, SEPTEMBER 6: Pick up purchased artwork, 9-11 a.m. 

Three DMV artists representing US at Venice Biennale

There are three area artists who are currently representing the US at the Venice Biennale -Glasstress.  That's their collaboration in the background of the photo from the Italian press below:

The Italian press calls Chris Shea, Michael Janis and Tim Tate "international stars" - The Washington Post and other local media call them... oh wait! There's not  a single mention of this in our local press!

Michael Janis is on this Satuday!

Art Clinic Online will be having one of the DMV's true art superstars this coming Saturday!

The guest artist is the incredible Michael Janis, uberglass artist and Co-Director of the Washington Glass School.  

Michael Janis was born in Chicago, IL and currently lives in Washington, DC. Trained as an architect, his glass figures showcase his very disciplined approach to the medium. He became Co-Director of the Washington Glass School & Studio in 2005, where he teaches and oversees the studio’s many site specific and public art commissions. His portraiture works often look, at first glance, to be made with graphite or pastels, but actually are made using crushed glass. He painstakingly manipulates the individual grains of the glass powder with X-acto blades and brushes on flat glass and fired (fused) in electric kilns.

Awarded a Fulbright Scholarship in 2012, Janis went to England’s University of Sunderland and taught at the UK’s National Glass Centre where he became an Artist-in-Residence at the Institute for International Research in Glass. The DC Commission on the Arts & Humanities awarded him the 31st Annual Mayor’s Arts Award for “Excellence in the Arts”. This year, Janis’ glass sculpture, made in collaboration with artist Tim Tate, is featured in the 2022 Venice Biennale of Art exhibition, “Glassstress”. Janis’ artwork is in the permanent collection of the Art Institute of Chicago, the Tacoma Museum of Glass, Florida’s Imagine Museum and the Fort Wayne Museum of Fine Art.

 Zoom Meeting Link

https://us02web.zoom.us/j/86416329284?pwd=R20zZUVIUkxmdERGQzBqN3M5SVJwZz09

Meeting ID: 864 1632 9284

Passcode: 191463

The Christ and Seder

A few years ago, before Governors in many states made it a Covidian crime, I was invited to a Seder meal by a friend who is also quite a well-known Philadelphia area artist and an even better known curator.

Somehow the conversation turned to Christ’s Last Supper, which of course was a Seder meal and she observed how most paintings depicting The Christ’s last meal showed regular bread instead of the unleavened bread required by Jewish tradition to celebrate the Passover. This is very interesting to the pedantic part of me, already troubled by the fact that nearly every depiction of The Christ that was presented to me in art school depicted mostly Northern European-looking Christs, rather than the Semitic Middle East Israelite that He was.

And now I wonder, are there any contemporary depictions (or any depiction) of the last supper which depict this last Seder for Christ in a more historically correct perspective?

Read the article here.

Juried Art Shows: Hints from an Insider

The answer used to come in the mail - now it usually comes out via email. An accepted notice brings joy, while a rejected note needs little explanation. It is the agony and the satisfaction of the juried art show.

Entering juried art shows is perhaps the most common way for emerging artists to build a resume, to expose one's works to a wider audience and above all, to compete with our peers. It is the raison d'etre for Art Calendar and other magazines and web sites.

As a young emerging artist, I have entered countless of these shows over the early years of my career. As a regularly published writer in the Washington, D.C. area, I often review the shows once they are hung. Later in my career, as a seasoned juror for many of these competitions around the capital region, I have had plenty of first hand exposure to the inner guts of this art phenomenon. As the poet Marti wrote "I have been inside the monster, and I know its innards well."

Provided that they are fair and staged by a reputable art space, there are no tricks that will guarantee acceptance into the juried competition. However, there are steps which artists can take to increase their chances for being accepted. The following checklist will help you increase those chances and assumes that you, the artist, is looking for a competition outside of your city, but can also work in your own backyard. An earlier version of this post was published as an article in Art Calendar magazine several decades ago.

The Gallery - The reputation and location of the gallery or art space holding the juried art show is perhaps the most important item in the list of various things to investigate before one decides to enter a show. The internet is a great resource: does the gallery have a webpage? If so, visit it and get a general flavor for what kind of shows they have been hanging lately. A reputable gallery sometimes gets reviewed in the local press. Since newspapers have online versions, do a search, write or email the newspaper's art critic with a simple question about the gallery. Even if not reviewed, reputable galleries are often listed in the Weekend or Leisure section of most major metropolitan newspapers. Find some artists' websites in the same city and ask them about the gallery. As a last resort, the artist can always call the gallery and ask them questions. Furthermore, the actual exhibition space itself is important. How many pieces does the gallery intend to select? (As a question to the gallery (provided that the competition has been held in previous years) is: "How many pieces were accepted last year? Followed quickly by: "How many pieces were entered?"). Good shows attract larger numbers of entries, so be wary of a low number of submissions, but if 3,000 entries are expected and ten will be hung, well - you get my drift. Finally, find out what does the galleries do to advertise the show. For example, is there an opening for the artists and the show? A good entry form should answer these questions, if not, call the gallery and ask them. Needless to say, avoid vanity galleries at all costs and be suspicious of art galleries which seem to be always staging a juried competition. 

The Juror - The entry form should list some of the qualifications of the juror. Researching his or her background is perhaps the single most influential action in increasing one's chances of being accepted. As jurors, we all bring our prejudices to the process, even if we deny it in public. If the juror is an artist, chances art that he or she will tend to favor the type of art that he produces. This sounds very subjective, but generally, even while we speak of the brotherhood of the arts, we essentially tend to be very clannish about what we like as art. An artist/juror who paints solidly abstract works is more likely to identify with abstraction than with photorealism - don't let anyone fool you into believing anything else. Some art galleries seem to have an unhealthy love affair with academic jurors, and these are perhaps the hardest to "judge." If the jurors are art professors, chances are that they will also be artists, so look at their art for hints. If curators, museum directors, art critics or any other form of arts intelligentsia, look at their products for a hint. An art critic who raves about the work of Cy Twombly is probably not going to pick Norman Rockwell for an exhibition. Conversely, a museum curator whose last three exhibitions have dealt with rediscovering Victorian art is not likely to select a Rothko-look-alike for a juried show.

The Awards - A competition without awards is not necessarily bad; however, the opportunity to win some money at an art event (and thus a return in your entry fee investment) is a powerful enticement to enter a show. Be careful of purchase awards, which means that the gallery will deliver cash awards, but they will keep your piece. This is also OK, as long as you are aware of it. 

Entry Fees - A $20 - $45 dollar fee for three entries is generally the average normal range for most competitions. Other than funds to ship and insure the return of an accepted entry, any additional handling fees, hanging fees, etc. is (in my opinion) a scam and artists should stay away from competitions which require further cash resources past the entry fees and return cost of accepted pieces.  

Size - Here's a dirty secret from juried competitions: At practically every competition which I have juried, the gallery owner or museum director has always said: "I won't tell you what to pick, but please try to select as many artists as possible." This often means that great art that will consume significant wall acreage may not be selected in favor of several smaller pieces. Most competitions limit the size of the entries, yet I am astounded at the number of entries which routinely exceed the specified size and are rejected for that reason (although they keep your entry fee). Submit manageable pieces which can be easily shipped, hung and (if not sold) returned. 

Time - Here's another secret: Most competitions start preparing entries for jurying as it arrives. That means that the juror usually views the very first entries first. Although most jurors view (or should view) the entries more than once, it is probably safer to be somewhere in the middle of the viewing process, after the jurors have stretched their mental engines, than at the very beginning. Time the arrival of your entries to land at the gallery about a week before the deadline. If the entries are arranged alphabetically, then ignore this section.

The Images - I know you have all heard this time and time again, but the quality of your images is second only to the quality of the work itself! I was astounded a while back to jury a competition for a local gallery in DC, and discover an entry which had two of three images completely out of focus, and several whose works had been shot though framed glass and the reflections from the flash made the work impossible to see. These artists had not even looked at their entries before submitting them. The best thing to do is to actually project the digital images and see what they look like on the wall - you'd be surprised at what can be seen.

With the exception of competitions where the show is picked from the original work, the gallery or art space hosting the competition usually arranges for the image viewing with the juror(s). In competitions where there is more than one juror, interesting debates about the merit of art takes place, and more often than not, compromises. However, in the final decision, it is the work itself that delivers the final verdict.

Where to find competitions - Artwork Archive (a great resource) has the following recommendations:

Artwork Archive | Call for Entry

Free to peruse, we feature everything from dream residencies and life-changing grants, to fun festivals, art business workshops, and competitions for some extra cash. We make it easy to search, too! Filter by opportunity type, location, event dates, eligibility, and more to find exactly what your art practice needs to flourish.

CaFÉ

While you may know this site for its wide array of calls for shows, exhibitions, and residencies, this site also boasts a collection of grants and awards. Search through the listings at no cost which covers all the need-to-know details for applying, including entry deadline, fees, location eligibility, and more.

The Art Guide

Not sure if you want to apply through a third party, Art Guide is the free artist opportunity site for you. This call for entries website allows you to apply directly to the organization offering the grant. The list is updated daily so there'll always be a great new opportunity to pursue.

ArtOpportunities.org

Formerly Artist Opportunity Monthly, all you need to do is sign up with your email and they send you thoroughly screened opportunities every month, including grants. AOM prides itself on ensuring each opportunity is worthwhile. A more comprehensive monthly list is offered at $5 a year.

ArtDeadline.com

Another site you may have heard of is ArtDeadline.com. According to their website, it is “the largest and most respected source for artists seeking income and exhibition opportunities.” The site may cost you a subscription fee of $20 a year to view the majority of its opportunities, but you can still browse many grants listed for free on their homepage and the @ArtDeadline Twitter account.

Curator Space

CuratorSpace is a project management toolkit for curators, organizers, galleries, and artists. It is designed to take the hassle out of managing exhibitions, competitions, fairs, and a whole lot more. Plus, they are a great site for finding art opportunities worldwide!

Re-title.com

Re-title is a service for professional contemporary artists searching for opportunities, such as competitions, exhibitions, residencies, etc. A site for international contemporary art, this is another great site to find opportunities around the world! There’s even a map you can click on to search opportunities regionally and world clocks at the top of their site so you can submit applications on time!

Resartis.org

Res Artist is a Worldwide Network of Arts Residencies from around the globe. The network comprises more than 700 vetted members in over 85 countries. They aim to support and connect residencies, engage and advocate the importance of residencies in today’s society by providing artists with resources and upcoming residency information. 

Art Rabbit 

Art Rabbit compiles a selection of international open calls and opportunities for contemporary art-related competitions, prizes, exhibitions, awards, proposals, and grants for artists, writers, and curators. They publish a selection of open calls from a pool of submissions and editorial research. Only open calls believed to offer meaningful benefits to applicants at different stages of their careers are published.

Creative Capital 

Creative Capital is a 501(c)(3) nonprofit organization whose mission is to fund artists in the creation of groundbreaking new work in the visual arts, performing arts, literature, film, technology, and multidisciplinary practices, including socially-engaged work in all forms. Our pioneering model of grantmaking also provides thousands of artists with scaffolding and infrastructure support via professional development programs, networking opportunities, and educational resources.

Art Show 

Artshow.com attracts thousands of artists and art enthusiasts each day. They advertise worldwide juried shows, exhibitions, and competitions across any and all mediums. Artshow.com has been recognized in "Must-See Web Sites for Artists" by The Artist's Magazine and has received favorable mention in several other art publications, including American Artist, Southwest Art, Watercolor Magic, and The Pastel Journal, as well as The Wall Street Journal.

With a bit of preparation, and a small amount of research, you as the artist may find that "accepted" box marked more often in the future. Good luck!

When the National Gallery of Art screwed up

25 years ago the National Gallery of Art passed on a Picasso to get a Cy Twombly - price tag on either was one million bucks.

My take on it was published in the Potomac News newspaper - it has aged rather well... here it is below:

"Cy Twombly Over Picasso?"

by

F. Lennox Campello

Published in the Potomac News and Dimensions Magazine

Twombly over Picasso? The National Gallery of Art's latest acquisition of an exceedingly boring painting by Virginia painter Cy Twombly succinctly brings to light a perfect example of the sort of poor decisions made in the seclusion of museum walls which exemplify why the general public is often at odds with our arts intelligentsia.

Cy Twombly's "Untitled (Bolsena)" was acquired on Friday the 13th of October by the National Gallery of Art at a cost of about one million dollars. The gallery's Collector's Committee also considered a Picasso, a Giacometti and a Baselitz before choosing the Twombly painting, which was aptly described by Washington Post art critic Paul Richards as "evoking the butt-end days of New York action painting. Or a wall besides a public pay phone."

Although it is clear that the Twombly piece will now join the National Gallery's ever growing "Gee, Mom, I can do that!" collection of art, what isn't clear is the rationale for picking Twombly over Picasso or Giacometti. It has been said that Twombly's main claim to fame is his early associations with Jasper Johns and Robert Rauschenberg; if this is his main springboard into the walls of the National gallery, then it is clear to me that a pathetic mistake has been made by the gallery's Collector's Committee. As a matter of fact one would be hard pressed to pick a Johns or a Rauschenberg over a Picasso!

A new Picasso acquisition would have brought the National Gallery some more public interest, and a price tag of a million dollars seems almost a bargain for perhaps the greatest painter of all time. Whatever his detractors, Picasso is a recognized entity which would attract people who both like and dislike his work. I suspect Twombly's "champions" are not enough to prevent this latest acquisition from being ridiculed by the public and dismissed by the critics. It is also clear that the piece was vastly overpriced, as a similar Twombly sold less than two weeks ago in New York for $167,000. It would be interesting to see in which basement of the National Gallery this scrawling will gather dust in a few years. When it is put into storage, I hope it is well marked as a piece of art, or it may accidentally resurface on a wall next to a pay phone at the Smithsonian Metro Station.

The Elizabeth Greenshields Foundation Grant

 The Elizabeth Greenshields Foundation Grant

The Elizabeth Greenshields Foundation grant is one of the most prestigious grants available to emerging figurative artists, as well as one of the most substantial. It is one of the longest-standing foundations, with an illustrious history of recipients spanning more than half a century. It is also unique in its scope, in that it is available to students and artists around the world.

DEADLINE: Ongoing

WHO: Young artists pursuing their studies or in the early or developmental stage of their career. 

AMOUNT: First grants are in the amount of CAD $15,000 each, and subsequent grants are in the amount of CAD $18,000 each (maximum three grants).

FEE: FRE

FINE PRINT: The Foundation does not provide funding for the pursuit of abstract or non-objective art. Grants are intended to assist applicants in the study or practice of their art, and the costs associated therewith, such as tuition, studio rental, model fees, travel, and living expenses. Eligible courses of study or training include undergraduate, graduate, or post-graduate studies and diploma programs from accredited institutions, recognized residencies, apprenticeships/internships, and studio training. Grants are not intended as work or project grants for more experienced or mature artists.

 Applicants must be at least 18 years of age to be eligible to apply. Learn more here.