Artomatic baby!

Stop the press!  Artomatic is moving ahead in its efforts to arrange for a 90,000 square foot space in Prince Georges County in partnership with the Maryland National Capital Park and Planning Commission (MNCPP), who are our hosts.

 

MNCPP Tours - want to see the space? You're invited to check it out!

 
LOCATION:
8100 Corporate Drive
Hyattsville, MD 20785
 
The site is a 10 minute walk from the New Carrollton Metro station, and there is lots of parking at 8100 Corporate Drive.
 
Thursday July 9th - 6 - 7 pm

Saturday July 11th - 10 - 11 am
 

Got questions? 

Call George Koch at 202-607-0879 or email him at george.koch@artomatic.org

Opportunities for Howard County artists

The Howard County Arts Council is now accepting submissions for Art Howard County 2015.

If you are a visual artist, 18 years of age or older, who lives, works or studies in Howard County, MD, you are eligible to apply to this biennial, juried exhibit. 

The juror for Art Howard County 2015 will be Paula L. Phillips, Community Artist and Professor at Maryland Institute College of Art. Details for entry are included in the prospectus and entry form, available for download on the ‘Exhibits’ page of the Arts Council website, for pick-up at the Howard County Center for the Arts, or by mail by calling 410-313-2787 or emailing info@hocoarts.org. The deadline for submissions is 11:59p.m. on Monday, August 31, 2015.

 

Art Howard County 2015 will be on display in Gallery I at the Howard County Center for the Arts from October 30 through December 11, 2015. A free public reception on November 6 from 6-8 p.m. will include juror remarks as well as the presentation of a minimum of $500 in juror awards. 

 

Gallery hours are Monday through Friday 10AM - 8PM, Saturday 10AM - 4PM, and Sunday 12 - 4PM.  To learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit www.hocoarts.org.  

Studio gallery's 50th!

Congratulations to Studio Gallery, which is celebrating its 50th anniversary! In gallery years that's longer than the Roman Empire!

More details here.

AAFNYC

We will be at the Fall Affordable Art Fair in NYC next September! 9th year in a row.

Showcasing work by Anne Cherubim, Ned Martin and Sang Joon Park!


"Bread and Butterfly" Oil on Aluminum by Ned Martin 24x24 inches, circa 2014


Excitable Cells  Acrylic on canvas by Anne Cherubim 20x20 inches, circa 2013

Untitled
Ceramics by Sang Joon Park
Dimensions variable, circa 2014

Happy Fourth!

Blue Mountain Family Restaurant

We usually drive from DC to the Poconos via I-81, but as there was construction going on... this time we took I-78 and discovered this great family owned restaurant... From now on we will be taking this route just to eat at this joint; If I could give them 100 stars I would!

The Blue Mountain Family Restaurant in Shartlesville, PA.

Super friendly staff to start with... they employ an army of people, so there's always someone within eyesight! When we got there around fivish, the place was fairly empty; by the time we left around six, it was packed to the gills.

We had the buffet, which was spectacular. The salad bar was well stacked and included two kinds of cole slaw - both delicious and fresh cut up fruit and several kinds of rolls... Also hot bacon dressing, which must be some kind of Amish or German delicacy, but I passed on that.

At the buffet, everything looked home made... The oven baked fish plate was excellent, there was a ham carving station and a stack of the largest ribs that's I've seen in ages. 

There was also a sweet potato mash to die for... Just good old comfort food! 

Also a large variety of desserts, with two kinds of German chocolate cake!

Bottom line: If you're driving on I-78, stop for chow at the Blue Mountain in Shartlesville, PA!

How to eat a mango

For TBT: Originally published in 2011:

Here's another peek at some of the writing that I've been doing about my early childhood in Guantanamo, Cuba. This particular chapter has a section which deals with the art of mango-eating which I think you may find of interest.

The chapter in question essentially describes my neighborhood and the below segment picks up on a house up the street from my grandparents' house which had a huge mango tree:

Next to Mongo’s house was another walled house where Enrique “El Manco” lived. His nickname was slang for someone missing a hand, although Enrique had both hands, but was missing several fingers from one of them. His front yard boasted a huge mango tree. It was easily the largest tree for blocks around, and during mango season, the huge branches, loaded with fruit, that hung above the street were an unending supply source of mangos for everyone with a good aim to knock some of them off with rocks and then pick them off the street.

But soon all the mangos from the branches that over hanged onto the streets were gone, and then we had to actually sneak into the walled garden and climb the tree and knock some mangos to the ground, climb down, grab them and scram back to the street before anyone in the house noticed the intrusion. This was nearly impossible, as it seemed that every member of Enrique’s family was always on the lookout for mango thieves, as the mango tree was a source of income, since they sold them by the bag-full from the side of their house.

The art of eating a mango deserves some attention.

There are several ways. The first one, and the most easy to perform by amateur mango eaters, is simply to take the mango, cut into it with a knife and slice off the meaty parts, peel the skin off and eat the hard slices.

Seldom did a mango knocked off Enrique’s tree make it to any house to be eaten this way.

Once you knocked off a mango, and provided that no one grabbed it before you got to it – as there was always a group of mango rock throwers, and anytime a mango came down, it was always a debate as to exactly whose rock had brought the fruit down. Cubans love to debate just about anything, and the mango debates provided very good training on this art. Anyway, once you had a mango, then you ran to either the shade of my grandparents' house’s portico or the bakery’s veranda to enjoy the fruit.

Here’s the proper way to eat a mango.

First roll it back and forth on the ground, a tiled floor is perfect, to mush up the inside of the mango. Then, using you fingertips, really liquefy the mango pulp by gently squeezing the mango over and over. Once that pulp is almost nothing but juice, with your teeth puncture a small hole at the tip of the mango.

You can now squeeze the mango and suck the juice through that hole. It’s sort of a nature-made box drink!

Once all the mango juice is all gone, now comes the messy part. No one, not even the British, has ever discovered a way to eat a mango without making a mess.

Once the juice is gone, then you bite the skin, strip it away from the seed, lick it clean and then begin to bite away all the strands of mango fiber still attached to the seed. By the time a good mango eater is done with a mango, the mango seed looks like a yellowish bar of used soap, slick and fiber-less.

Of course, your face and chest area are now completely covered in dried up, sticky mango juice, so then you'd usually head back home to clean up with the garden hose and drink water to quell the thirst that the mango sugar causes.

That’s how one eats a mango – at least in my childhood neighborhood.

Confederate Cubans

 In view of recent events...

"A Cuban woman who moved to New Orleans in the 1850s and eloped with her American lover, [her name was] Loreta Janeta Velazquez, fought in the Civil War for the Confederacy as the cross-dressing Harry T. Buford.

As Buford, she single-handedly organized an Arkansas regiment; participated in the historic battles of Bull Run, Balls Bluff, Fort Donelson, and Shiloh; romanced men and women; and eventually decided that spying as a woman better suited her Confederate cause than fighting as a man.

In the North, she posed as a double agent and worked to traffic information, drugs, and counterfeit bills to support the Confederate cause. She was even hired by the Yankee secret service to find 'the woman . . . traveling and figuring as a Confederate agent' — Velazquez herself."

This is sort of a Cuban-Southerner-Confederate "Fidelio."

Loreta Janeta Velazquez along with Cuban Confederate Colonel: The Life of Ambrosio José Gonzales by Antonio Rafael de la Cova and "the definitive biography of a Cuban and Confederate rebel", are two curious examples of Cuba's alignment with the South during the Civil War.

Get the book here.

The Cuban dictatorship

If you think that the Castro brothers and their band of criminals will ever let loose their strangle hold on the Cuban people's neck, then as Dostoevsky so elegantly puts it in The House of the Dead:

Tyranny...finally develops into a disease. The habit can...coarsen the very best man to the level of a beast. Blood and power intoxicate...the return to human dignity, to repentance, to regeneration, becomes almost impossible.

Warrant arrest for Shepard Fairey

And then there was this:

Detroit police have issued an arrest warrant for the artist who created the famous "Hope" poster in support of President Obama during the 2008 election, it was revealed Wednesday. 

The Detroit Free Press reported that Shepard Fairey faces two felony counts of malicious destruction of property.... In an interview with Esquire magazine published last month, Fairey said Obama had not lived up to the expectations he had when supported his campaign.

 All the details here.

Homage to a beautiful voice

The other day I was driving around the DMV listening to NPR when the voice of the new lady who does the credits for NPR came on. I reached for the knob and turned the volume up just to hear her voice.

It wasn't the first time that I had done that in the last few weeks, but this time my brain became aware of what I was doing: I was turning the volume up on the radio just to hear the voice of an unknown person... just to hear her voice... and she was essentially doing an ad!

What the heck? That's a little weird, right?

But then the sound waves of her hypnotizing voice flowed over the 88.5 WAMU airwaves, and it captured me once again. This time, aware of what I was doing, I awaited the tiny "ehh" sound that she makes as she skillfully breathes in between long sentences, as words, like tiny silk webs, flow out of her throat. That little "ehh" somehow was able to make me smile.

I don't know who the anonymous voice over for NPR's funding credits is, but I do know that she has the most beautiful voice on the planet. I would bet that she is somewhat tall (a voice like that needs an appropriate vehicle) and I just know that she has a long, elegant neck. Not as long as Parmigianino's Madonna dal Collo Lungo (Madonna with Long Neck), but she'd make a perfect model for a contemporary interpretation of that Mannerist masterpiece. It takes a breath-taking neck like that to deliver the melody that is her voice.

Whoever and wherever you are: thank you for giving me such a wonderful and unexpected pleasure on a daily basis.

Opportunity for female Artists

Call For Entry: CREATING CONNECTIONS
A Commission & Print Replication Project

Application Deadline: Saturday, August 1, 2015

MAP, in partnership with CyberPoint International is pleased to announce an open ‘Call to Artists’. As an extension of MAP’s annual IMPRINT Project, MAP is working with CyberPoint to offer a unique opportunity to female visual artists of the greater Baltimore metropolitan area. Collectively, MAP and CyberPoint wish to commission and license the image of a new work of art. The image of that artwork will be reproduced in a limited edition and presented to the guests of CyberPoint’s Women in Cyber Security reception on November 19, 2015.

The selected artist will receive a $750 Cash Award, increased visibility of artist’s name and artwork through press announcements and be highlighted on MAP and Cyberpoint's websites. Print production sponsored by CyberPoint.
Download the full application and guidelines here.
 

30 years of drawing

Gallery B call for artists

The Bethesda Arts & Entertainment District and Bethesda Urban Partnership are accepting applications for Gallery B 2016 exhibitions.

This gallery (the former Fraser Gallery), located at 7700 Wisconsin Avenue, Suite E in downtown Bethesda, is available to interested artists and arts organizations for one-month rentals. All media including, but not limited to, painting, photography and sculpture is eligible to use the space. Gallery B does not take a commission on any artwork sold during the exhibition.  

 

They are seeking applications from local artists and arts organizations for month-long exhibitions in 2016. Gallery B has approximately 1,500 sq. feet of available exhibition space. The deadline for submission is August 3, 2015.

To be considered for a solo or group exhibition, and to review the gallery requirements, please complete this application.

 

Questions?  Please send them an email to artist@bethesda.org.

And then it hit artwork

This is what happens when a battle over a piece of cloth with complicated interpretations and emotional responses, filters down towards artwork.

Make sure that you read the comments, so that you can see how angry our fellow citizens are.

Hubris Ate Nemesis .... Sigh...

Paintings of the Fraser Gallery... I mean Gallery B

The below gorgeous painting by Cathy Abramson  will be on display at the the Hill Center Galleries Regional Juried Exhibition.

It is one of the series by Abramson titled "Gallery After Hours" depicting the interesting reflections on the windows of Bethesda's iconic Fraser Gallery Gallery B.

The other two paintings are also part of the series.

Details about the exhibition itself are on the invite to the left. The opening reception is Thursday, June 25, 6-8 PM.

Galleries After Hours III
24 x 36 inches

Galleries After Hours III
24 x 48 inches

Galleries After Hours III
24 x 36 inches

 

Update on Alper Initiative

You can refresh on the terrific Alper Inititiave and the spectacular impact that it will have on DMV artists here. Then for an update:

The new home of the Alper Initiative will be:

• 2,000 square foot space
• 5 exhibitions of Washington art per year
• 1 common gathering area for events and film screenings
• DC's only museum space dedicated to the display, research, and encouragement of the region’s art 

The construction begins on August 1st, 2015, and the new space will open in January of 2016. 

In order to learn more about the project please check out their Facebook page, or this recent article.  They are also in the process of building their webpage.

The curious case of the media ignoring Rachel Dolezal's art lies

It has been said that the real power of the mainstream media is to "ignore." That is, to pick and choose what "they" want to publish and "make known"; the latter usually something that fits the particular agenda of the individual news organization.

The comments for some of DC Art News' posts on Rachel Dolezal abound with recommendations from DC Art News readers encouraging Dave Castillo and I to go to the mainstream press outlets with the various artistic deceptions and outright lies that Dolezal has purposefully committed throughout her artistic life.

Movie Still from the film Pariah

 "Alike's World" "Painting" from Dolezal's blog

And I have! I have contacted dozens and dozens of editors, writers, newsrooms about the expose that shines a light on her lies and fabrications when it comes to her art life.

So far, the response has been mostly zero.

Why would the media ignore the fact that Rachel Dolezal may have fabricated her art CV? Why would they ignore that she most likely lied (or vastly exaggerated) about her art sales while in the DMV?

While would they ignore the fact that she appears to be selling photo reproductions on canvas as original paintings?

Could it be because these discoveries fall "outside" of her race change storyline and expose the fact that her entire persona, including her production as an artist, is built on lies?

Many good people, who are not aware of Dolezal's artistic deceptions, have been otherwise very accepting of Dolezal's racial lie. After all, she was one with the "cause", blah, blah, blah, goes the "accepting" narrative.

Were they to discover that Dolezal not only created a mountain of lies in order to provide a base for her racial lie, and her life as a victim, etc. but also mimicked that performance for her persona as an artist, then they might repudiate her -- as a person -- rather than accept her, as a "sister."

Dolezal Name Meaning: Czech and Slovak (Doležal): nickname for a lazy man, from the past participle of doležit ‘to lie down.’

George Bernard Shaw schooled

"I am  enclosing two tickets to the first night of my new play;  bring a  friend, if you have one."     - George  Bernard Shaw to Winston Churchill

  "Cannot   possibly attend first night; will  attend second   ... If there  is one."  
  - Winston  Churchill, in response

General Grievous

General Grievous
Graphite and Colored Pencils on Gessoed Masonite
Anderson Campello, c.2015
11x14 inches

Portrait of Lucifer

Satan wears many faces; this is one of them:

Censored painting now hangs in museum

While still in her 20s, Shapiro received a significant artistic nod with a solo show at the Whitney in 1973. It was the nascent days of feminism, and Shapiro’s work explored questions about what it meant to be female or male. But the topic of gender back then belonged in the realm of the avant garde, so much so that the museum censored two paintings out of Shapiro’s exhibit. That stunning experience sent Shapiro traveling an unexpected artistic path, a path that came full circle when SAM acquired her paintings.

Read about the interesting road that artist Ann Leda Shapiro's painting took to get into the permanent collection of the Seattle Art Museum. Details here.

These Mirrors are Not Boxes

Artists as Docents: Sunday, June 28, 2:00 p.m.

Join the artists featured in the VisArts exhibition, These Mirrors are Not Boxes,  for a tour through the gallery and a discussion of their artwork focused on the issue of identity.

Curated by VisArts’ first Emerging Curator, Kayleigh Bryant-Greenwell, These Mirrors are Not Boxes examines the complexities of contemporary identity through the work of six local female artists: Amy Hughes Braden, Milana Braslavsky, Anna U. Davis, Nora Howell, Annette Isham, and Lisa Noble.

The exhibition explores the surprising, alternative, even subversive means and ways identity is formed, presented, confronted, and challenged when marginalized personas are brought out of the fringes. The VisArts Emerging Curator Program offers a unique opportunity for an emerging curator to work with an experienced mentoring curator to develop and present an exhibition and to assist in the presentation of the mentor’s exhibition in the Kaplan Gallery at VisArts. This is the first year of this outstanding new program.

_____________________________________________________________________________

Exhibition Events & Programs:

Artists as Docents: Sunday, June 28, 2:00 p.m.

The artists featured in These Mirrors are Not Boxes will discuss their artwork and identity.

Events are free and open to the public.

 

Dolezal drawings hit payday

Two Rachel Dolezal small drawings done while she lived in the DC area just hit pay dirt in EBay.

Check out the selling prices here: http://www.ebay.com/sch/i.html?_armrs=1&_from=R40&_sacat=0&_nkw=rachel%20dolezal&LH_Complete=1&LH_Sold=1&rt=nc&_trksid=p2045573.m1684

(e)merge art fair news

From the (e)merge art fair folks:

The (e)merge art fair plans to expand into a larger venue in Washington, DC. Because we are currently focused on making the transition to a new event location, the next edition of the fair will take place in 2016. We eagerly anticipate announcing our new venue in the coming months.

 

Building on the success of (e)merge to date, we will enlarge our format to include a variety of booth options for gallerists while reinforcing the experimental spirit of the independent artist platform. We believe this is the best trajectory for effective growth as we plan the fifth edition of the fair.

 

DC leadership recognizes (e)merge’s role in the city’s cultural future: “With iconic arts institutions like the Smithsonian and the Kennedy Center, and exciting new initiatives like the (e)merge art fair…cultural tourism is one of the city’s growing sectors. As Mayor, Muriel Bowser will work with the arts and business communities to create the synergies needed to grow our creative economy to rival New York and Chicago.” - The Bowser Administration Transition Plan.

  

We would like to thank our gallery and artist exhibitors, host committee, vetting committees, cultural partners, sponsors, media partners, panelists, and attendees for supporting the first four editions of (e)merge. We look forward to keeping you updated as we fulfill our new vision and re(e)merge in our new venue!

 

Sincerely,

 

Jamie Smith + Leigh Conner

Call for Photographers

Deadline: June 30, 2015

With night-time photography, techniques can be used to make electric shots full of atmosphere, life and colour. Shooting at night allows us to capture images that the human eye simply cannot detect in low-light conditions. It quite literally helps us to see the world in a whole new light. We are looking for images that explore the hidden secrets of Life After Dark. 

No Entry Fee 

Details: 800-028-7338 OR http://tinyurl.com/kjz6blh OR competitions@thephotgraphicangle.co.uk

Rachel Dolezal totally busted as an artist

Other than her race-change, now people are obsessing on Rachel Dolezal's artistic appropriation of the 1840 J.M.W. Turner painting into her work - artists do that all the time...  Picasso did it with Velasquez's "Las Meninas", and many other contemporary artists do that; no big deal.

The real HUGE issue with her artwork are Dolezal's fabrications and exaggerations that may extend to her artistic CV and arts resume while she lived in DC and even worse afterwards, and then about about the legitimacy of her own artwork - see these links in order:

• http://dcartnews.blogspot.com/2015/06/the-curious-case-of-artist-rachel.html
• http://dcartnews.blogspot.com/2015/06/more-on-curious-case-of-artist-rachel.html
• http://dcartnews.blogspot.com/2015/06/even-more-on-curious-case-of-artist.html

And then, working with Dave Castillo, she gets really busted here: 

http://dcartnews.blogspot.com/2015/06/what-dave-castillo-discovered-about.html 

Case closed! I can't believe not one mainstream media news organization has picked up on this! We think that she's painting on top of copyrighted photos transferred to canvas!

Wanna buy a Rachel Dolezal "original" ?

It appears that artist Rachel Dolezal is smartly taking advantage of her worldwide notoriety to hawk some artwork.

Several of her pieces are for sale here.

Her "appropriated" Turner replica is listed here for sale at $5100 - still waaaay below the $10,000 price ranges that she claimed she was getting for her artwork while a student at Howard - see that story here.



What Dave Castillo discovered about artist Rachel Dolezal

By Hook or By Crook's Dave Castillo has done some pretty impressive image detective work to expose artist Rachel Dolezal's direct copying of some movie posters for her artwork.

Here's a sample of Dave's expose - images and his thoughts from his website:

Movie Still from Pariah

 "Alike's World" "Painting" from Dolezal's blog ("Sold") 

 In my opinion "Alike's World" was likely printed onto a canvas from the photo and Dolezal then touched it up with clear acrylic gesso and paint. It is simply too accurate a copy. She regularly worked with acrylic glue (collage) back in 2012, so she would definitely know how to accomplish this. Much of her blog has to do with cutting things out of magazines. She took images that someone else provided,  glued it down and then called it "Mixed Media"

At first view, I tend to agree with Dave that this "painting" appears to be initially photo-based. That is, a digital image of the photo has been digitally printed onto a canvas and then "re-worked" with some clear acrylic medium (to give it a surface brushwork texture), and possibly some broader brushwork with a thicker medium with color-matching paint on the background buildings. The reproduction of the figure is too exact to be anything other than a reproduction on canvas.

The buildings have been worked over with a broader brushwork to blur them a little into the background, but the shadows (in most cases) are too exact in proportion and relation to the original photo to be anything other than a photo reproduction.

The sky has been worked over as well, and she went a little lazy on the left side of the painting. Five gets you ten that if I examined this painting up close, I would see thicker paint "covering" up the left side of the piece (above the shoulder of the figure) than on the figure itself. The fact that she didn't even bother to "change" some of the folds in the hoodie not only takes cojones, but artistic laziness in this, possibly the shortest fake route to a hyper realistinc painting.

There's now an interesting research challenge for some news organization to contact all the digital printing shops in the area where Dolezal lived at the time and see if she pops up as one of her customers; we may discover that a lot of Dolezal paintings have a similar substrate.

These are not paintings, they are "enhanced" appropriated photographs, which appear to violate copyrights, made up to look like hyper-realistic paintings... visit this link to see what a "real" Rachel Dolezal painting looks like...

Visit Dave's site here and see the rest of his evidence!

Update: Dolezal is selling her paintings - included those mentioned in Dave's piece, at this website: http://www.artpal.com/ - enter "Dolezal" in the search box to find them.

Even more on the curious case of artist Rachel Dolezal

Part one of my musings on several odd markers and at least one possible giant lie (yes, another lie) dealing with Rachel Dolezal/Moore's artistic footprint is here and part two is here.

Dolezal's artwork can be seen here. In fact, pretty much all the artwork by Dolezal on the Internet is what she has in that website - other than three pieces which have appeared on Ebay after the story broke out.

In her website she tells us that:

Rachel Dolezal is an award-winning Mixed Media Artist with over 20 exhibitions in 13 states, internationally, and at the United Nations Headquarters. Dolezal completed her Master of Fine Arts at Howard University, where she majored in experimental studio and minored in sculpture. 

As an artist, writer, curator and art dealer, I have read and reviewed thousands of artists' resumes over the last four decades, and I find it a little odd to discover Dolezal's lack of any significant artistic digital footprint, other than the WaPo one line mention discussed here and the one, single pre-2007 painting discussed here.  Additionally, her 2007 work with the UN is discussed here, although it deals mostly with children's work.

But where are Dolezal's "20 exhibitions in 13 states"? Why are there no references anywhere to be found? Why doesn't she have the most common of artists' resume anywhere, listing group and solo shows?

We know that while at Howard University she showed in a group show at Prince George County's Harmony Hall Regional Center Gallery in the "Fast Forward: Visual Voices 2002" group show curated by Takema M. Robinson, who curiously wrote at the time that "this group of emerging black artists is looking backward with equal speed."

Dolezal was still "non Hispanic white" at the time, cough, cough.

That's one show and one state; there's zipfuck on the Interwebs that I can find showing Rachel Dolezal or Rachel Moore (her married name while she lived in the DMV) in any other art exhibition (other than her MFA thesis work discussed below), including the "convention centers around the nation" that she apparently exhibited in during her tenure at Howard (1999-2002) where she sold art, "the highest for around $10,000."

Her website also has cryptic references to artwork "on tour in Maryland" and also notes that this installation below was "Last exhibited in Washington, DC on Pennsylvania Avenue."

"Hell"
Mixed Media by Rachel Dolezal, c. 2002

This rather impressive work was apparently part of her final MFA thesis work at Howard (that University's Art gallery is located on Sixth Street, NW, by the way...). From Jezebel we learn that:

Dolezal’s final thesis was a series of paintings presented from the perspective of a black man and the late Dean Tritobia Benjamin, a formidable scholar whose specialty was black women in the arts, wanted to know how Dolezal felt qualified to tell this type of story as a white woman. 

“Her thesis presented an inner journey of what goes on inside the mind of a black male,” he said. “This was ten years ago but I still remember one was a three dimensional piece of a man was being consumed by a fire all the way into the ground. The rest of her work were two dimensional paintings.”

So that's two exhibitions. I'm curious to know where this rather complex piece went on tour in Maryland.

Whenever an artist puts down in a website trying to sell artwork, that some art is on tour, the next thing that you put down is the venues where that artwork will be exhibited. Twice in her website Dolezal tells us about "art on tour": the aforementioned one "in Maryland" and another tour reference to Mississippi.

No idea where and when they were on tour.


Angela
Linocut Reduction Print by Rachel Dolezal
9x12 inches - Edition of 12, c. 2007?

According to her, this very elegant linocut by Dolezal won the "Mississippi state printmaking award." If you Google that in quotes, nothing but Dolezal comes back. If you remove the quotes, a lot of things come back, none of which I can associate with any state level printmaking award or even Mississippi State University. I'm not really doubting that Dolezal won some sort of award with this excellent print, but why is she so "loose" in her discussion of where, when and what award? You're killing me Rachel!

I'm up to about four states (maybe) and the District of Columbia.

Afrika
Mixed Media Collage by Rachel Dolezal
36x30, date unknown

Now we come to Afrika, a spectacular collage where Dolezal really flexes her artistic muscles. She tells us that:

History: When the original was first shown in Jackson, MS, Jolivette Anderson (aka The Poet Warrior) and the Black Poets' Society performed. The Poet Warrior wrote "Pieces of You, Pieces of Me," an original poem based on inspiration/connection with this image.

That event was a little easier to find; here it is, but documented by the poet herself and then rather recently after Dolezal's deceit surfaced.

I think that I'm up to five states plus DC; I could continue to find the remaining states, but you get the point.

Why am I being so pedantic? Maybe Rachel Dolezal was just lazy about her artwork documentation, and also documenting it online. But why are there no digital footprints from the galleries or art centers where she exhibited?

I'm being pedantic because this immensely talented artist has clearly fabricated a lot of things in her past - not just the racial deception and possibly the hate crimes - and thus, other than her very visible artistic talent, now everything is in question.

Update: See what Dave Castillo discovered about the legitimacy of some of her painting here.

Cuban racism

A young Afro-Cuban performance artist transformed a Havana cultural center into the stage of a black hairstyle competition this weekend in a rare public commentary on racial beauty standards in Cuba, where prejudice remains widespread and largely undiscussed.

... Behind closed doors and even in public, white Cubans have been known to talk disparagingly about black Cubans in ways that have become socially unacceptable in many other countries, describing them as criminals and forbidding their children from dating Afro-Cuban schoolmates.

... Roberto Zurbano, a cultural critic and essayist at the Casa de las Americas, a Havana cultural center, said the mostly white leaders of Cuba's revolution had failed to realize the deeply rooted nature of Cuban racism and implemented race-blind policies instead of programs like affirmative action specifically designed to help black Cubans move into positions of greater influence.

Read the whole article here

More on the curious case of artist Rachel Dolezal

Yesterday I started looking at the curious case of artist Rachel Dolezal, and asked some sharp questions about her artwork, mostly fueled by her string of documented lies, not just about her race, but several other issues. You can see that post below or here.

Subsequently, more data on Dolezal as an artist while she was in the DMV following her graduation from Howard has emerged from the archives of the Washington Post, where in 2002 Moore participated in an exhibition at Harmony Hall Regional Center Gallery which was titled "Fast Forward: Visual Voices 2002," and curated by Takema M. Robinson, who curiously points out that "this group of emerging black artists is looking backward with equal speed."

I say curiously because at that time Dolezal/Moore (from what her brother says here and from what a couple of Howard University sources who knew her have told me) was still a few years away from her "switch" to black and was one of the small number of white students at Howard. So now I'm curious to know if the curator even knew Dolezal/Moore, or just selected her work based on... whatever, and never actually met Dolezal/Moore.

These nine artists, all recent or current students in the master of fine arts program at Howard University, eschew the debates currently raging over the "burden of identity," Robinson writes in the exhibition's catalogue.

"The artists amassed here have all created works that unabashedly and unapologetically explore issues of cultural identity," she wrote. "Deeply aware of their history, their work is as much about the present and future as it is about the past."

The exhibition is overwhelmingly dominated by themes relating to the life of black women. (All but one of the artists are female.) The statements can be adulatory, as in Mecca Shakoor's lovely silk screen and bead applique{acute} "Adorn Her," or rebellious, as in Rachel Moore's religion-poking installation "Hypocrisy: A Form of Godliness,"

Dolezal's brother Ezra Dolezal confirms that his sister's thoughts about transformation might have been seeded by the way that she was treated by fellow students and faculty at Howard:

Ezra believes the only reason his sister would change her identity was due to the racism she claimed to have encountered at Howard University, where she graduated with her master’s degree in fine art in 2002.

Rachel, he added, would often complain that she was treated poorly as one of only a few white students on a mostly black campus.

“She used to tell us that teachers treated her differently than other people and a lot of them acted like they didn’t want her there,” Ezra said. “Because of her work in African-American art, they thought she was a black student during her application, but they ended up with a white person.”

He said that the experience made her angry, and it was then that Rachel started being “hateful to white people.”

Of course, since this person has now a well-documented allegedly "false" string of victimism, it also sort of hard to believe her on this aspect as well, since apparently Dolezal/Moore taught classes at Howard while she was a graduate student, and perhaps even after graduation, and then she was included in this show discussed above... unless the curator didn't know that Rachel was white.

Curious uh? I am still also somewhat curious at to Dolezal's lack of a digital footprint as an artist while she was at the DMV. According to a source who is someone who knew her at Howard, she did "show in DC several times," and apparently also sold work directly, since this person also owns an original (and quite good) Dolezal charcoal done in 2005. That piece was done when Dolezal was still known as Rachel Moore and signing her work with giant "RDM" initials. My source bought it directly from Dolezal, and not from any gallery.

Other than the PG County exhibition space noted in the WaPo review, who else showed her around the DMV? Her website has no CV, although there are cryptic references to artwork "on tour in Maryland" and also notes that this installation below was "Last exhibited in Washington, DC on Pennsylvania Avenue."

"Hell" Mixed Media by Rachel Dolezal

Dolezal tells us that:

This 8'x4'x4' installation features a life-size plaster figure sculpture with 'implanted' human hair in pit, chest, & chin, an open-mouth rendering with full dental sculpting, & acrylic gloss finish. The vortex under the figure is made from recycled clear plastic plates & cups, tissue paper, concrete, wood, steel, styrofoam, & ink airbrush.
The installation was featured originally with black velvet curtains (white used here for purposes of photography), and the 6-lamp circuit was set on a motion detector, catching viewers by surprise when they walked into the curtained area. A written expose' of various ideas about hell hung outside the black velvet curtain door.
Last exhibited in Washington, DC on Pennsylvania Ave.
Vortex elements were later destroyed, and sculpture was maliciously damaged, so this photo is a memorial of the art.

Everything is a "hate" tragedy with this lady.

One comes across a lot of weird stuff when mining Google for data on any subject... so we know that Rachel Dolezal was Rachel Moore after she married and partially while she was in the DM.

Here is some weird alignment of the planets with that name and the story... there's a 2008 book by writer Brandon Massey titled "Don't Ever Tell" and that is described here as:

DARK SECRETS...
With a new identity, a new city to live in, and a wonderful new husband, Rachel Moore believes she's finally free of the demons in her past. But nothing could be farther from the truth. For the deadly secrets she thought were long buried are now on the brink of being exposed...
HAVE A WAY...
Someone has a vendetta against Rachel. Someone whom she betrayed a long time ago. Someone who is determined to make her pay--no matter what the cost...
OF COMING BACK WITH A VENGEANCE...
Now Rachel knows it's just a matter of time before her dangerous past meets up with her present--and destroys everything she's worked so hard for. Because if there's one thing that can be counted on--her enemy never forgets or forgives and will do whatever it takes to see her suffer...

Weirder and weirder...