The Daphne Series

While I was a student at the University of Washington School of Art (1977-1981), one of my school projects involved taking a mannequin deep into the woods around the Seattle area, and then fixing the mannequin onto a tree.

Once the figure was attached to a tree, I would either cover it in glue, or spray it with photo fix glue, and then cover it in tree mulch, bark, and dirt. Then I would completely glue pieces of bark to the figure, and thus make it "blend" onto the tree that it was affixed to. Eventually, the figure would be (at least visually) part of the tree, as if the figure was growing from the tree itself.

Most of these projects were done in Mt. St. Helen's as I had a school friend whose family lived at the bottom of the mountain, and it was thus convenient as he was my guide around the mountain's ape caves and trails). I suspect that all of them were destroyed by the volcanic eruption of St. Helen's on my wedding day in 1980.

I took many slides of the finished installations, but (because after art school I moved to Europe, and then returned in 1985 to go to postgraduate school, while I was at postgraduate school in California), I put about 30 boxes of books, and photos, and slides and clothes, etc. in storage with my then sister-in-law in Washington state.

Mujertrees
9x12 inches, 1979 Intaglio Etching
by F. Lennox Campello
Edition of 100 sold out

Then, while she was on vacation, a pipe in her house broke and flooded her basement for several days. Not only did I lose many, many slides of artwork, but also lot of art, all of my disco clothes (probably a good thing), plus a couple hundred books, including my copy of a hardbound first edition, first printing of Tarzan of the Apes (now worth a lot of big ones)... and no, insurance did not pay for it; none of it.

I do, however, still have some of the preparatory sketches that I did over the years, and the memories of my student artwork that has been twice wiped out by the forces of nature, as if upset that I was re-arranging and humanizing nature. The etching above - titled Mujertrees - was the start of the idea... I made 100 etchings at printmaking class at the University of Washington and then sold all of them at the Pike Place Market in Seattle.

Over the years since, I've continued the idea; see below:

Mujertree Roots
12x9 inches
1994 Pen and Ink by F. Lennox Campello
In a private collection in Virginia Beach, VA

Mujertree Couple
8x11 inches
1995 Pen and Ink by F. Lennox Campello
In a private collection in Virginia

Mujertree (Assisted)
12x9 inches
1995 Pen and Ink by F. Lennox Campello
In a private collection in Norfolk, VA

Mujertree Forest
8x11 inches
1994 Pen and Ink by F. Lennox Campello
In a private collection in New York

"Mujertree with Broken Arms" (from Daphne series) circa 1980.
Pen and Ink. 10 x 8 inches.
Collection of the Artist

"Mujertree Forest" circa 1995
Pen and Ink. 8x10 inches.
In a private collection in Virginia

"Mujertree Forest"
Circa 2000 - Unfinished
Pen and Ink. 8x12 inches.
In a private collection in California

"Daphne" circa 1995, Charcoal on Paper, 30 x 20 inches.
Private Collection in Richmond, VA

Those nature installations and the subsequent drawings and etchings were part of what I call the "Daphne Series," and which continues to this day, mostly now in drawings and etchings (above and below).

"Daphne" circa 1994, Charcoal on Paper, 40 x 30 inches.
Private Collection in Charlottesville, VA

"Mujertree Rising" (from Daphne series) circa 1996
Charcoal on Paper. 10 x 8 inches.
In a private collection in Chevy Chase, MD

"Daphne"
circa 2004
Charcoal on Paper. 14x9 inches.
In a private collection in London, UK

"Daphne"
circa 2007
Charcoal on Paper. 7x9 inches.
In a private collection in Washington, DC

"Apollo as Daphne (Gaea Missed) - from Daphne series"
circa 2008
Charcoal on Paper. 11x8  inches.
In a private collection in New York

 "Daphne"
circa 1993
Charcoal on Paper. 20 x 14 inches.
In a private collection in Virginia Beach, VA

"Daphne (version II)"
circa 2004
Charcoal on Paper. 16x11 inches.
In a private collection in New York

 "Daphne"
circa 1997
Charcoal on Paper. 16x11 inches.
In a private collection in Reston, VA

At Waverly Street: 2016 Invitational

Wanted: Associate Curator of Academic Programs and Latin American Art

Position Announcement



Title: Associate Curator of Academic Programs and Latin American Art 


Department: Jordan Schnitzer Museum of Art


Reports to: Senior Curator of Western Art
Term: 1.0 FTE for 12 months (renewable annually)
Annual salary: $40,000–$50,000, commensurate with experience
Expected starting date: Flexible



The University of Oregon, founded in 1876, is the state’s flagship institution.  With a student body of almost 25,000 undergraduate and graduate students and over 260 academic programs, the university offers an energetic and robust academic environment in the welcoming college town of Eugene, Oregon.  The UO is a world-class teaching and research institution, and a member of the Association of American Universities (AAU).  The AAU is an organization made up of the 61 leading public and private research institutions in the United States and Canada, and the UO is one of only two members in the Pacific Northwest.



The University of Oregon's Jordan Schnitzer Museum of Art (JSMA) is a premier Pacific Northwest museum for exhibitions and collections of historic and contemporary art based in a major university setting. The mission of the museum is to enhance the University of Oregon’s academic mission and to further the appreciation and enjoyment of the visual arts for the general public.  The JSMA features significant collections galleries devoted to art from China, Japan, Korea, America and elsewhere as well as changing special exhibition galleries.  The JSMA is one of six museums in Oregon and the only academic museum accredited by the American Alliance of Museums.



General Description Reporting to the Senior Curator of Western Art, the Assistant or Associate Curator of Academic Programs and Latin American Art supports the museum’s mission by 1) strengthening the museum’s teaching role, working with faculty and students across campus; 2) building engagement among Latino constituents on and off campus; and 3) developing the collections and special exhibitions in support of faculty research and teaching, with a focus on modern and contemporary Latin American art. The position manages the JSMA Academic Support budget of $30,000, recommends acquisitions, and organizes special events (including Día de los Muertos) and exhibitions that have budgets ranging from $10,000–$150,000, including international loans.



Description of Duties


JSMA Academic Support (50%)
* Identify faculty and center directors whose work/interests align with JSMA exhibitions, programs, and other goals, and conduct outreach to encourage use of the JSMA’s collections and exhibitions for teaching and research. Outreach can include a quarterly faculty e-newsletter, individual meetings, and departmental presentations.
* Schedule and facilitate class visits and work with faculty to create tour agendas and curricula. 
* Lead tours and class visits in the galleries and study room. 
* Manage Academic Support Grant program, including marketing of program to faculty, intake of applications, oversight of budgets, and evaluation.
* Work with faculty to curate curricular rotations or larger exhibitions that tie in to curricular needs, with a focus on Latin American art.
* Serve with the director of education as JSMA’s point person for the museum’s Latino Engagement Plan. Tasks include building relationships with faculty, students, staff, administrators, and community members, development of seminars and courses, and program management, including the annual Día de los Muertos program.
* Create and implement workshops for faculty and graduate students to strengthen their use of the museum for teaching and research, working with colleges, schools, centers, departments, programs, and teaching-resource areas on campus.  
* Gather statistics on class visits and faculty feedback (via survey or other instruments) at the end of each term.
* Create and schedule academic programs (lectures, symposia, performances, etc.) that support faculty engagement. Includes managing program budget, developing effective outreach to academics, and liaising with artists, lecturers, and other guests to arrange travel, honoraria, and other needs.  
* Manage museum facility and technology use for courses and programs, including scheduling, budgeting, and collections access.
* Write and manage grants that further academic use and innovative practices for academic collaboration. 
* Publish and present at conferences to create greater visibility for the JSMA’s academic and Latino engagement initiatives.
* Occasionally, teach courses for the university.
* Other duties as assigned.
JSMA Collections Support (25%)
* Research and interpret a growing collection of modern and contemporary Latin American art.
* Supervise student interns and faculty members in research and exhibition of Latin American art and Academic Support grants, as appropriate.
* Serve as a curatorial representative on the Collections Committee.
* Refine Latin American collections development plan and identify acquisitions, organize exhibitions, secure loans, and develop collaborative programs with Latin American studies faculty. 
* Develop relationships with collectors, artists, and gallerists who can advance collections goals, with a focus on Latin American art.
* Other duties as assigned.
JSMA Exhibitions Support (25%)
* Develop and present exhibitions of modern and contemporary Latin American art (on loan and from collection), including contemporary artists in the Artist Project Space. 
* Work collaboratively with curatorial team on all aspects of exhibitions organization, as needed, both for collection rotations and special exhibitions, including curation, research, logistical planning, preparation of checklists and interpretative materials, and documentation.
* Serve as in-house curator or manager, as appropriate, for special exhibitions organized by faculty or guest curators focusing on Latin American art and JSMA Academic Support Grants.
* Support education of staff and volunteers regarding curatorial activities and exhibition content.
* Draft exhibition materials for collateral and PR. 
* Write grants and other fundraising proposals in support of exhibitions.
* Other duties as assigned.

Minimum and Preferred Qualifications

Minimum Qualifications
* MA in art history, with a focus on modern or contemporary Latin American art.
* Minimum 2 years’ experience working in an academic museum on curatorial projects.
* 1-2 years’ experience writing grants.
* 1-2 years’ experience supervising student workers and/or volunteers.
* Bilingual (Spanish/English): essential for communicating with artists, galleries, museums, and collectors in Mexico, the Caribbean, and Spain to support collections research development, exhibitions,  programs, and fundraising and to further the JSMA’s Latin American strategic plan.
* Demonstrated ability to work collegially and collaboratively with diverse internal and external constituents.
* Minimum 1 year experience working with faculty and students on curricular projects in the museum.
Professional Competencies
* Experience creating and conducting workshops.
* Experience researching and presenting Latin American art for museum acquisition and exhibition.
* Excellent verbal and written communication skills.
* Excellent computer skills, including MS Office and Outlook Exchange.
Preferred Qualification:
* PhD in art history, with a focus on modern or contemporary Latin American art.
* Experience working with community organizations, especially those serving Latino audiences.



The successful candidate will have the ability to work effectively with faculty, staff and students from a variety of diverse backgrounds. 
 
Position is subject to criminal background check.



Application Procedure
To apply, applicants should submit a cover letter, summarizing your qualifications and interest in the position; current résumé or curriculum vitae that includes dates of employment; and the names, phone numbers, and addresses of three professional references. University Advancement prefers email submissions with all materials packaged as a single PDF attachment and “Search 16007” in the subject line. Please submit applications to: Email:            advancementjobs@uoregon.edu

USPS:  Search Committee, Curator of Academic Programs JSMA                         University Advancement

University of Oregon

1720 E. 13th Avenue, Suite 312

Eugene, OR  97403

The University of Oregon is an equal opportunity, affirmative action institution committed to cultural diversity and compliance with the ADA. The University encourages all qualified individuals to apply, and does not discriminate on the basis of any protected status, including veteran and disability status.

Uh?

This morning I was in Annapolis and went to the bathroom to pump bilges when two Milennials walked in to do the same.


As they were peeing, the discussion between them came to the Iowa results.


Milennial One: Can you believe that Cruz beat Trump?


Milennial Two: Yep... what if Cruz or Rubio end up being nominated?


Milennial One: They'd lose to Hillary dude; She'd get all the women vote, all the African American vote and all the Hispanic; the Republicans are anti-Hispanic.


Pause


Milennial Two (who may have been Hispanic): How can you say that? They have two Hispanic candidates!


Milennial One: They're not Hispanic! They're Cuban and they're white!


Milennial Two: True.

VFMA Fellowship winners announced

The Virginia Museum of Fine Arts’ Fellowship Program continues its 76-year tradition supporting Virginia’s art community by giving grants to students and professional artists. With this year’s awards, fellowship grants will reach nearly $5.5 million with more than 1,275 awards to Virginia artists since the program’s inception in 1940. VMFA awarded 27 fellowships to Virginia art students and professional artists in 2016-17 for a total of $162,000.


“None of this would be possible without the generous endowment established by the late John Lee Pratt and all the supporters of this mission-based objective throughout the past 76 years.” Director Alex Nyerges said. “The Virginia Museum of Fine Arts’ Fellowship Program is committed to about nurturing artists throughout the Commonwealth.”
  
Twelve professional fellowships, each worth $8,000, were awarded. The recipients are (in alphabetical order by hometown): Moaz Elemam, film/video, Alexandria; Tyrone Turner, photography, Arlington; Lee Anne Chambers, painting, Courtland; Kristin Skees, mixed media, Hampton; Matthew Parker, drawing, Portsmouth; Cynthia Henebry, photography, Richmond; Valerie Molnar, mixed media (collab. with Matt Spahr), Richmond; Matt Spahr, mixed media (collab. with Valerie Molnar), Richmond; Stephen Vitiello, new/emerging media, Richmond; Jack Wax, crafts, Richmond; Paul Ryan, painting, Staunton; Martha Jones, painting, Williamsburg; Charlie Brouwer, sculpture, Willis.   


The juror for the professional awards was  Valerie Cassel Oliver, senior curator at the Contemporary Arts Museum, Houston.


Four graduate students won awards worth $6,000 each. They are: Paul Norton, film/video, Arlington; Kathryn Mayes, photography, Mechanicsville; Corey Piper, art history, Richmond; Abbesi Akhamie, film/video, Woodbridge. 


Ten undergraduate students won awards worth $4,000 each. They are: Natalie Abernethy, new/emerging media, Ashburn; Isabel Lee, sculpture, Charlottesville; Donald Boose, new/emerging media, Falls Church; Madeleine Hardy, painting, Falls Church; Emily White, photography, Fork Union; James Heyes, new/emerging media, Newport News; Cassie Williamson, mixed media, Powhatan; John DiJulio, photography, Richmond; Monica Escamilla, photography, Richmond; Kyle Falzone, mixed media, Richmond.
  
In addition, undergraduate student Rachel McGovern, crafts, of McLean was awarded a fellowship worth $2,000 for her final semester.


The juror for the undergraduate and graduate awards was Amy Moorefield, museum deputy director of exhibitions at the Taubman Museum of Art in Roanoke, Va.


Of this year’s winners, seven artists have received fellowships in the past:
Jack Wax – 2007 Professional fellowship winner
Valerie Molnar – 2007 Graduate fellowship winnerStephen Vitiello – 2010 Professional fellowship winner
Martha Jones – 2011 Professional fellowship winner
Paul Ryan – 2010 Professional fellowship winner
Corey Piper – two-time art history winner
Paul Norton – 2014 Professional fellowship winner


The fellowship funds come from a privately-endowed fund administered by the Virginia Museum of Fine Arts. The Fellowship Program was established in 1940 through a generous contribution made by the late John Lee Pratt of Fredericksburg (the husband of Lillian Pratt, donor of the museum’s Fabergé collection). Offered through the VMFA Art and Education Division, fellowships are still largely funded through the Pratt endowment and supplemented by gifts from the Lettie Pate Whitehead Foundation and the J. Warwick McClintic Jr. Scholarship Fund.

Benjamin Abramowitz

Benjamin Abramowitz passed away on November 21, 2011 at age 94 and left a profoundly important legacy of more than 75 years of work.

Lots of information on his life and his more than 7,000 pieces of artwork at www.benjaminabramowitz.com

Trekkies Needed for USS Enterprise Restoration Project

The National Air and Space Museum is looking for Star Trek fans to pass them pre-1976 images or film of the original studio model of USS Enterprise.


Nerds an find more details here, but essentially Trekkies are being encouraged to submit firsthand, original images, or film of the ship under construction, during filming, or on public display at any time before 1976.


For more information about submitting material, contact StarshipEnterprise@si.edu


Live Long and Prosper.

Wanna go draw?

The Capitol Hill Arts Workshop (CHAW) hosts a drop-in “Working from the Figure” session on Fridays, February 5, 2016 and February 19, 2016 from 6:30-9:30 p.m. at CHAW, 545 7^th Street, SE.

Work on drawings or paintings in front of a live model in a session without formal instruction, facilitated by artist Will Fleishell. Please bring your own drawing materials. Easels are available. The session is $15 for drop-in students. For more information, visit www.chaw.org or call (202) 547-6839.

RIP David Quammen

David Quammen passed away yesterday... Some eloquent words about this fixture of the DMV art scene by DMV art critic and artist Kevin Mellema, and at the bottom a painting of Quammen by DMV uber artist Erik Sandberg.

RIP ... We lost Dave today... Folks outside the DC arts community won't know him, but Dave was... Dave was.... well, Dave was Dave.

To say the least, Dave was a unique character. He didn't leave any gas in the tank when he left. We should all be so inspired. 

He entered our lives when he became a figure model posing around the DC area. Later on, he took over the MOCA gallery in Georgetown. 

After years spent around him, there certainty will be no shortage of Dave stories to tell. His epic battles with the MOCA landlord became city wide PR battles gone wild that spilled over into the City Paper. .... They alone were worth the price of admission. This photo, as an example, was done in the midst of one such skirmish. 

But my favorite Dave tale comes from his modeling days before all that.. He was a tenacious model that simply would not give up on a pose no matter how bad it hurt to go on holding it. ...

One night he was on the model stand with another model who had her back to him. She took a fairly simple standing pose, while Dave took a semi-reclining pose akin to the 'Dying Gaul' from the Parthenon... His entire weight held up by one arm for 20 minutes.

Somewhere towards the middle of that, it started to wear on him. Sometimes you bite off more than you can chew, but Dave wouldn't spit it out no matter what. It was a point of pride with him, and we all respected and appreciated such.

Everybody has their limits, and clearly Dave was in well over his head on this one... .. A few more minutes ticked by, and Dave's arm started to give it up for him... By the end of the twenty minutes the entire modeling stand was shaking rapidly from the considerable muscle spasms in Dave's arm.

The buzzer went off, and his torture ended. He sat up, his torso beet red, flush with blood from the exertion. Wiped out, he sat there trying to regain his breath and composure before the call for a new pose... When the other model turned around and said to him... "That wasn't so bad!"... It was a classic line. Couldn't have been more contrast between the average model, and Dave's efforts. Nobody put it all on the line the way he would.

He went on to run MOCA with the same no holds barred gusto....

Underneath the outrageous antics, and occasional irascible episodes, Dave was a genuinely kind and generous man. He prided himself on making MOCA an equal opportunity place for all comers. The art world hates that sort of thing, but Dave stuck to his guns to the bitter end. In some fundamental way, the people were more important to him than the art. He was a curator of people. Nobody could put together a wild collection of people the way Dave could....

It's common to hear people eulogized as 'unique' and 'irreplaceable'. In Dave's case, it's all true. In fact, it's simply unthinkable that we'll see the likes of him again in our lifetimes...

Dave made the DC art scene more colorful, and less buttoned-down boring. We often take **art** as some deathly serious affair. Dave was having none of that, he was all about having fun with it.

We could all do well to remember such, and carry a bit of that with us going forward.... God speed Dave.

                                                                           - Kevin Mellema

Anger. Oil on Canvas, 2009 by Erik Thor Sandberg

Hirshhorn and Latin American artists

Since 2014, the Hirshhorn Museum and Sculpture Garden Library (HMSG) has received grants totalling $15,000 to catalog materials of Latin American artists.

Details here:  https://blog.library.si.edu/2016/01/new-to-the-hirshhorn-library-latin-american-artists/

Interesting that one of the things that they have collected is a recent catalog of Cuban artist Sandra Ramos show in New York. At the same time, the Hirshhorn has not once, but twice been offered original paintings by Ramos as gifts from two separate collectors and both times the museum has declined them. 

Most unusual vintage watercolor at auction

Someone in Florida has this most unusual watercolor that I did at the University of Washington School of Art in 1977 as part of some class assignment. 

It was an early exploration of my interest in tattoos as art and a predecessor to my current "Written on the Body" series. It has a starting bid of $150, which is a steal for works of that period.

Bid on it here.

Wanna go to an opening tonight?

Renée Stout: Tales of the
Conjure Woman

American University Museum
at the Katzen Arts Center

January 26 - March 13, 2016

Opening Reception: Tonight, Saturday, January 30, 2016, 6:00pm - 9:00pm 

Renée Stout: Tales of the Conjure Woman opens at the American University Museum at the Katzen Arts Center on January 30, 2016 and will remain on view through March 13, 2016. A gallery talk with the artist will take place on Saturday, January 30, 5-6pm and opening reception will take place 6 - 9pm.

The exhibition features recent work by Washington, DC-based Renée Stout, who is best known for her exploration of vestigial retentions of African cultural traditions as manifested in contemporary America.

For many years, the artist has used the alter ego Fatima Mayfield, a fictitious herbalist/fortuneteller, as a vehicle to role-play and confront issues such as romantic relationships, social ills, or financial woes in a way that is open, creative, and humorous. The exhibition focuses on the artist's assumed role through an array of works in various media. As Stout explains, "The common thread running through bodies of my work of the past several years is the continuing need for self-discovery and the need to understand and make sense of human motives and the way we relate and respond to each other."

Art Scam Alert!

Beware of this scammer: 

Kenneth Anderson (kandy1111@outlook.com)
Hi there,
I'm an art lover/collector and I'm collecting a few pieces for my new house. I came across your artworks and I find them captivating. I would love to have some of your pieces. Send me pictures and info about your available works including their sizes,materials and prices so I can make an order.
Thanks,
Kenneth.

Paint Annapolis Call for Artists

Paint Annapolis is a five-day juried plein air painting competition May 30-June 5, with exhibition to follow until June 12. $15,000 cash awards. 

Entry is open to artists around the world. 30 artists will be accepted. 

Upload three images online - Deadline 16 Feb 2016.

Entry fee. 

Details: 410-268-4566 OR http://www.paintannapolis.org OR info@mdfedart.org

Sonoma Ballet Conservatory Drawings (1992-1993)

From 1992-1993 I was lucky enough to live in Sonoma, California (I was the last XO of the now-closed Naval Security Group Activity, Skaggs Island), in a cool house across from the Fire Station. My two daughters used to take classes at the Sonoma Ballet Conservatory, and like most of those places that are usually labors of love, they were always trying to raise funds through bake sales, etc.

I came up with the idea of doing some drawings of the students and then have an exhibition of the drawings at my then dealer (Presidio Gallery, also in Sonoma and closed many years ago).  The gallery agreed to the exhibition and that most of the profits from sales would go to the school.

Story in the Sonoma Index-Tribune about the show

Needless to say, all the work sold within a few minutes of the opening, as parents scrambled to get the drawing where their daughter was included. There was even some controversy, as the matriarch of one of Sonoma's oldest wine families had called the gallery prior to the opening and requested to buy all the works where her grand daughter was included. She faxed the gallerist a photo of little Amber (this was 1993... remember faxes?), and several of the pieces sold sight unseen!

The other parents were justifiably pissed, and I was very glad that I had nothing to do with the deal, and my poor dealer had a lot of explaining to do, especially to some of the other Sonoma wine blue bloods.

There were around 80 drawings all together in the exhibition - about 40 framed and 40 shrink wrapped in flat files - all sold! Below is a sampling of the show from some recently digitized slides.

Sonoma Ballet Conservatory by F. Lennox Campello
24x18 inches. Charcoal and Conte on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
24x18 inches. Charcoal and Conte on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
10x8 inches. Charcoal and Conte on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
10x8 inches. Charcoal and Conte on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
24x18 inches. Charcoal and Conte on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory (Study for the Above Piece) by F. Lennox Campello
24x18 inches. Graphite on Paper, 1992
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
10x8 inches. Charcoal and Conte on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
20x16 inches. Pen and Ink on Paper, 1992
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
10x8 inches. Charcoal and Conte on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
24x36 inches. Charcoal and Conte on Paper, 1992
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
24x18 inches. Charcoal and Conte on Paper, 1992
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
20x16 inches. Graphite on Paper, 1993
In a private collection in Sonoma, CA

Studies for Sonoma Ballet Conservatory by F. Lennox Campello
24x18 inches. Graphite Conte on Paper, 1992
In a private collection in Napa, CA

Sonoma Ballet Conservatory by F. Lennox Campello
20x16 inches. Graphite on Paper, 1992
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
10x8 inches. Charcoal and Conte on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory (Left Version) by F. Lennox Campello
20x16 inches. Graphite on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
24x18 inches. Charcoal and Conte on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
16x24 inches. Pen and Ink Paper, 1992
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
10x8 inches. Charcoal and Conte on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
9x12 inches. Charcoal and Conte on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
20x16 inches. Charcoal and Conte on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
10x8 inches. Graphite on Paper, 1992
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
14x11 inches. Charcoal and on Paper, 1993
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
24x18 inches. Ink Wash on Paper, 1992
In a private collection in San Francisco, CA

Sonoma Ballet Conservatory by F. Lennox Campello
18x24 inches. Pen and Ink on Paper, 1992
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
24x36 inches. Pen and Ink, 1992
In a private collection in Sonoma, CA

Sonoma Ballet Conservatory by F. Lennox Campello
12x9 inches. Graphite on Paper, 1992
In a private collection in Sonoma, CA

Elise Campello - Sonoma Ballet Conservatory by F. Lennox Campello
12x9 inches. Watercolor on Paper, 1992
In a private collection in San Francisco, CA

David Camero at Sitar Arts Center

David Camero
Traditional Yare Masks
and Other Actions Masks
January 31 – March 20, 2016

OPENING RECEPTION WITH THE ARTIST
Thursday, February 4, 2016 at 6:30 PM

About the masks series:

 

Referencing the traditional ritual ‘Diablos de Yare’ from Venezuela, David Camero’s “Traditional Yare Masks and Other Actions Masks” exhibit at Sitar Arts Center’s Cafritz gallery attempts to capture the cultural aspects of a long-standing tradition while also making the artwork accessible to a modern audience. The colorful masks will make for a truly unique exhibit that will awe and inspire the Sitar community.

 

For more information about David Camero and his work, please go to www.companiadelbouffon.com.

Please RSVP to attend this event.

 

 

SITAR ARTS CENTER
1700 Kalorama Road NW Suite 101
Washington, DC 20009

Phone: 202-797-2145
Fax: 202-483-0789
www.sitarartscenter.org