Judy Jashinsky's "I'll Take You There" at Civilian will be an epic exhibition - no question about it! And then, there's this very cool angle to the show:
We
dreamed of having this painting, "Columbus and Isabella in the Mosque
in Cordoba", in the exhibition. But sold years ago, we couldn't find it.
Judy went to great lengths to locate it and even worked with a private
investigator to try to track it down.
On Friday we learned that the
owner had passed away and it was going up at auction in VA the very next
day! What are the odds? And today, it was delivered to the gallery!!!
It is 84" x 96" and, because it wouldn't fit through the doors, was
stretched on site. Welcome home painting! Thanks to Margaret Rubino! For finding it. And Bill Hill and HMB for bringing it to us in almost perfect shape!
More on the show here.
On View at Caos on F: March 15 - April 19, 2016
Opening Reception: Friday, March 18, 6:30 to 8:30 p.m
Artist Talk: Saturday, April 16 at 6:00 p.m
Location: 923 F St NW, Washington, DC 20004
Early peek at a work in progress... it will have an embedded video
focusing on a 6.5 minute overview of my life - it's for a museum show of
art by immigrant artists - details later. The little boy on the left is
me as a four year old running around my grandfather's farm outside
Guantanamo.
Jason Horejs is 100% wrong on this issue, but it is nonetheless a very interesting read and an eloquent defense of an indefensible issue.
Many of you who have been following me will know that I discourage
artists from including dates on their artwork. Recently, I received the
following email from the curator of a museum: Dear Jason, As a Museum
Director, I vehemently disagree with not putting the date created on
pieces of work in a portfolio. Why do you suggest that? It appears that
the artist is hiding something. Sincerely, D.R. I responded: Dear D,
Thank you for the email and the question. I come at the question from a
marketing and sales standpoint, and from my perspective on the front
lines of helping artists sell their work, I have only seen the dating of
work as a negative.
I have plenty of empirical evidence to prove the opposite; many different instances, but the bottom line is this: for your 99% of the artists on the planet, it is the artwork, not anything else, that first hooks a potential collector. After that comes the perennial: it better be signed. Seldom does the date make a difference (for most artists' artwork encounter with a potential buyer) for an artist.
But, and this is a giant but, there are collectors that - once they have begun collecting an artist - are profoundly interested in early work, vintage, early work, even art school work. The "whys" are diverse, but they exist... and a date is a key validator in this case.
Case closed... read the piece here.
Wanna get a peek at what the next generation of DMV artists may look like?
When: April 2-20 and April 30-May 29
AU’s Department of Art presents the work of current Master of Fine
Art candidates. The multidisciplinary Studio Art program showcases an
exciting range of emerging artist’s works in painting, sculpture,
collage and material studies, photography and new media.
The First Year MFA exhibition will run from April 2-20 and feature
the work of Mills Brown, Aaron Eckstein, Yaroslav Koporulin, Jean Jinho
Kim, Sarah Ellen Norman, Sarah O’Donoghue, Jen Noone, and Zarina
Zuparkhodjaeva.
The MFA Thesis exhibition will run from April 30-May 29
featuring Sara Caporaletti, Sarah Dale, Carey Francis, Jihee Kang, Jean
Kim, Zack McGhin, Calli Moore, J. Moukarim, Samantha Sethi, and Katelyn
Wood.
