Call for Artists

Deadline: October 22, 2010.

The 39th Street Gallery and Project Space at the Gateway Art Center @ Brentwood is currently seeking proposals from artists and curators nationwide for an exhibition to take place January 8 to February 26, 2010.

Proposals may be for a self-curated solo show or a curated group exhibition. All original artwork in any media, including installations, will be considered.

For complete guidelines and more information, go to gatewaycdc.org or contact John Paradiso at 301-864-3860 x3 or john@gateway-cdc.org.

35 Years!

Washington Project for the Arts (WPA) will present Catalyst, its 35th anniversary retrospective exhibition, at the American University Museum at the Katzen Arts Center in Washington, DC, from November 9 through December 19, 2010.

Using three floors and the outdoor sculpture garden of the museum, Catalyst will be a dynamic, narrative 're-collection' of the WPA legacy, showcasing selected artists, exhibitions, programs, and events from its 35-year history. Curated by longtime WPA member, artist, writer, curator, and art professor J.W. Mahoney, Catalyst will include both recent and period artworks, documentation in both still and moving media, with a fully illustrated catalogue to accompany the exhibition.

In a statement provided by Mr. Mahoney, "Catalyst is intended to demonstrate the uniqueness, the resilience and the authentically catalytic power of a truly successful alternative arts organization that has survived for more than three decades." Divided chronologically into three major sections of the museum, the exhibition will feature works by over 150 artists in a variety of media. Through the presentation of selected works and narrative text, Catalyst will demonstrate the integral role WPA has played in the history of contemporary visual art in Washington, DC.

Catalyst is not intended to be presented as a traditional historical retrospective and it, by practical restrictions on space and time, can present only a glimpse of the depth and breadth of WPA's 35 years of creative production. It is intended to communicate the idea of WPA as a catalyst - as an organization that has meaningfully encouraged and supported the creative spirit of artists - and to demonstrate that artists continue to practice and thrive here in our region.

The exhibition catalogue features an introduction by American University Museum and Curator Jack Rasmussen, an illustrated timeline of selected moments in WPA history; essays by curator J.W. Mahoney, former WPA Executive Director Jock Reynolds, and former Bookworks Manager Robin Moore; and an illustrated exhibition checklist. It is available for $35 on the WPA website and in the American University bookstore.

WPA will also produce an interactive website for the exhibition which will invite artists and individuals associated with WPA throughout its history to contribute stories, artifacts, and information about the organization. The site www.wpadc.org/catalyst, which will include a timeline, comprehensive artist list, and exhibition and performance history of the organization, will be live November 1, 2010.

An opening reception will be held on Saturday, November 13, 2010 from 6-9pm at the American University Museum at the Katzen Arts Center, 4400 Massachusetts Ave. NW, Washington, DC 20016. A ticketed benefit opening will take place on Tuesday, November 9 from 6:30 to 9:00 pm. For more information or to purchase tickets, contact esmitherman@wpadc.org. Individual tickets are $75 for WPA member artist and $150 for individuals. Proceeds will benefit WPA's 35th anniversary exhibition season.

WPA will also host a series of related performances and public programs leading up to, and during the exhibition dates. Exhibition curator J.W. Mahoney will lead a tour of the exhibition on Saturday, November 20 at 4pm. Further details on the exhibition and related programming will be available at www.wpadc.org in the coming weeks.

My own experiences with the WPA have been terrific and go back many years. But clearly the most important one was in 2005, when I had perhaps the most difficult and most fun curatorial job ever. And at the end, it delivered the most wonderful gift of my life.

This happened when I was retained to curate the massive "Seven" exhibition for the then WPA/Corcoran. My goal in curating the show was to expose WPA artists who rarely, if ever, got any attention from previous curators and pair them up with some well-known names. In order to do that I reviewed 24,000-plus slides in the WPA/C Artfile, plus about a 1,000 digital submissions - the first time that the WPA had used digital entries for a show!

I reviewed all those slides and files not once, but twice over a six month period of trips to the Corcoran, where the WPA lived at the time.

"Seven" got its title because it filled seven different spaces at the Warehouse Theatre and Gallery complex on 7th Street, NW. At the time it was the largest WPA exhibition ever, and it was the WPA's best-selling show up to that time (nearly 70% of all the artwork from 66 artists sold, including two Sam Gilliams, three Chan Chao photos, a major Tim Tate glass piece, huge Graham Caldwell glass piece, Cornelius videos, Jamison painting, etc.) and about a dozen WPA member artists without representation got picked up for representation by galleries from that show (as I took groups of gallerists for one on one tours of the show). These dealers then picked up new artists for their galleries... such as Susan Jamison by Irvine Contemporary.

It was a huge opening with estimates of 600-800 people all spilling out onto the streets. We had a live nude drawing class during the opening show, with the model posing for several artists who created drawings on the spot. They were in what I had dubbed the "Nude Gallery," which was hung with the work of artists who focused on the nude.

We also had opera singer Hisham Breedlove, who had been body painted ahead of time by Adrianne Mills, singing around the galleries as a walking, living work of art. On the top floor gallery, Kathryn Cornelius conducted a performance several times that night. All of this was going on at the opening.

The show got major reviews by the DMV press with coverage in The Washington Post, the City Paper, Georgetowner, and all the (then) new art blogs. It was even covered by local TV as well as covered by CNN - It was the first WPA show ever covered by CNN!

The show was the buzz of the town for the whole month and it accomplished what I had intended to do: expose as many "new" artists to the DC art scene as possible while getting the WPA some buzz and selling some artwork. It did all of that and more.

And most important for me: I met the woman who eventually became my wife at the curator talk that I gave during the show! I challenge anyone to beat that success story!

Disintegration: The Splintering of Black America

The Washington Post's Eugene Robinson is the one single person at the WaPo that I hold (the most from a larger group of troglodytes, I am sure) responsible for the destruction of the visual arts coverage in the Post, in his case in the Style section while he was editor of Style a few years ago. Robinson allowed the decimation and destruction of what was left of Style's gallery and visual arts coverage to take place and for that I hold him responsible.

Robinson did it; or at least he didn't stop them from doing it: arts coverage killer.

But he is also a pretty good book author who picks damned interesting topics for his books - always somewhat prejudiced by the poison, passion and spice that is the American obsession and cultural misunderstanding of race.

His Coal to Cream: A Black Man's Journey Beyond Color to an Affirmation of Race is one of the most interesting books that I've ever read on Latin American racism, if somewhat acutely flawed by his American viewpoint of race that often doesn't apply anywhere else but America.

One of his other books, Last Dance in Havana was also near and dear to my heart and quite interesting, if again curiously naive in attempting to speak for Afro-Cubans from an American perspective that was agonizingly patronizing.

Robinson's newest book, Disintegration: The Splintering of Black America , returns to Robinson's obsession with race (which is richly reflected in his opinion columns in the WaPo) and I am really looking forward to reading it.

It makes its debut in four days with an Amazon Bestsellers pre-release rank of #57,201 in books (today), so it looks like I am one of five people on the planet who will actually buy and read this book, so I will let you know what I think of it once I am finished.

From Publishers Weekly:

In this clear-eyed and compassionate study, Robinson (Coal to Cream), Pulitzer Prize–winning journalist for the Washington Post, marshals persuasive evidence that the African-American population has splintered into four distinct and increasingly disconnected entities: a small elite with enormous influence, a mainstream middle-class majority, a newly emergent group of recent immigrants from Africa and the Caribbean, and an abandoned minority "with less hope of escaping poverty than at any time since Reconstruction's end." Drawing on census records, polling data, sociological studies, and his own experiences growing up in a segregated South Carolina college town during the 1950s, Robinson explores 140 years of black history in America, focusing on how the civil rights movement, desegregation, and affirmative action contributed to the fragmentation. Of particular interest is the discussion of how immigrants from Africa, the "best-educated group coming to live in the United States," are changing what being black means. Robinson notes that despite the enormous strides African-Americans have made in the past 40 years, the problems of poor blacks remain more intractable than ever, though his solution--"a domestic Marshall Plan aimed at black America"--seems implausible in this era of cash-strapped state and local governments.

Buy the book here.

Fridge Burn

The Fridge was never going to be an easy fit for Barracks Row. The art gallery-cum-classroom-cum-performance space opened in an alley off of 8th Street SE in September 2009, and immediately caused minor, NIMBYish ripples in its the well-heeled Capitol Hill neighborhood. Over the last year the outre-minded space has mostly enjoyed a tentative peace with its neighbors.

But when the Fridge had to scale back its ambitions last month, kow-towing to neighbors registering noise complaints, it didn’t involve the usual suspects—no scrappy devotees of street art, no mind-scraping experimental musicians. It happened in August, when, with Congress in recess and the summer quickly bleeding days, the neighborhood can feel like a ghost town.

The culprits? Noisy new agers.

Read the rest of Erin Petty's article in the WCP here.

Head for Art

Just discovered this supercool, new DC-based art site: Head for Art. In it, the fair Aleid Ford has a "365-day project that started Jan 1. The premise is simple: every day this year I take one art work from DC’s National Gallery of Art and discuss it in an interesting and enlightening way."

The site rocks and is a refreshing new presence in the DMV's art scene. Check it out here.

Congrats!

To my good bud and DC uberartist Tim Tate, who will be having his first first museum solo exhibition at Virginia's Taubman Museum of Art in Roanoke, Virginia next May-Aug.

The show will focus primarily on video. It will be called "The Waking Dreams Of Magdelena Moliere."

Stay tuned...

Strauss Fellowships

Deadline: November 6, 2010

The Arts Council of Fairfax County announces the FY2011 Strauss Fellowships. These individual artist grants recognize professional working artists’ achievements and their demonstrated history of accomplishments; they promote artists’ continued pursuit of their creative work. Artists in all disciplines including visual arts, creative writing, theatre, dance performance and choreography, film and new media, music composition and performance are eligible to apply. Applicants must reside in Fairfax County.

Named for Bill Strauss (1947-2007), gifted writer, cofounder of the Capitol Steps and the Cappies, the Strauss Fellowships are an investment in the sustained growth and development of the arts in Fairfax County as well as a way to honor artists’ commitment to an artistic discipline, their professional activity in Fairfax County, and their contributions to the quality of life in Fairfax County. This is the fourth year the fellowships have been offered. Guidelines and application materials are available online at www.artsfairfax.org. The application deadline is November 6, 2010.

The Strauss Fellowships are awarded through a competitive grant program where the recipients are determined by their work’s merit. No specific project needs to be carried out with the funds granted; Strauss Fellowships award outstanding achievement in work that has already been completed. This year Amy Lin, Foon Sham, Blake Stenning, and Ann Marie Williams all were awarded Visual Arts Fellowships.

Seen on Univision

Funny TV commercial for a furniture store in the DMV: A woman is acosted by two men wearing INS uniforms ("la migra"). They corner her against the wall and demand her "papers."

She laughs at them and informs them that to buy furniture at such and such, you "don't need any papers."

Badges, we don't need no stinking badges...

Tomorrow at Hillyer

Guest curator Lou Stovall selected work for the October Members Show in Hillyer Art Space.

Exhibiting artists are: Anne Marchand, Carol Barsha, Cianne Fragione, Ellen Weiss, George Tkabladze, Helen K. Anne, Paula Stern, and Wayson Jones. The opening is tomorrow, Friday, October 1st, 2010, 6PM-9PM as part of the First Friday Openings at Dupont Circle area galleries.

Tomorrow

Andrew Wodzianki's Super! opened at the BlackRock Center for the Arts last Wednesday, September 29, and will run until Monday, October 25.

The artist reception is tomorrow Friday, October 1, from 5:00 to 7:00 p.m. If you haven't been to the gorgeous huge gallery at BlackRock, this is a perfect opportunity to check it out.

By the way, the BlackRock 2011 Call to Artists is open now to all artists residing in Maryland, Virginia, and Washington, DC over the age of 18 for original artwork only. This call will cover exhibits in the gallery from October 2011 through August 2012. An exhibit may include on applicant or a combination of applicants, based on the judgement of jurors. The jury panel is comprised of Kathleen Moran, Jack Rasmussen and yours truly. The deadline is Oct. 30.

Details here.

Wanna go to a DC opening this weekend?

Opening in Gallery I at the Foundry Gallery, 1314 18th St, NW, 202-463-0203, "LAND, AIR, AND SEA", Recent paintings by Ron Riley.

Riley "portrays images which evoke a sense of internal peace, tranquility, and serenity, and power uniting us with the majestic forces we find within ourselves and in our natural environment." The show runs Sept 29 through Oct 31, Open Wed - Fri, 1 to 7pm, Sat & Sun 12 to 6pm, Opening reception is Oct 1, 6 to 8pm. The Monthly members show is n display in Gallery II.

Opportunity for DMV Artists

Deadline: October 30, 2010

The BlackRock Center for the Arts has a huge gorgeous gallery space and their call for artists for the 2011 art season is now up.

The 2011 Call to Artists is open to all artists residing in Maryland, Virginia, and Washington, DC over the age of 18 for original artwork only. This call will cover exhibits in the gallery from October 2011 through August 2012. An exhibit may include on applicant or a combination of applicants, based on the judgement of jurors. The jury panel is comprised of Kathleen Moran, Jack Rasmussen and yours truly.

Details here.

Opportunity for Artists

Deadline: November 12, 2010

Gallery West in Old Town Alexandria has a call for artists for their 14th Annual National Juried Show (Exhibit Dates: February 9–March 6, 2011).

The all media show will be juried by yours truly and awards to total $1,000. Click here to download the prospectus.

And the DC opening to go this Friday is...

The amazing Michal Hunter has a show of new paintings opening tomorrow at Pass Gallery from 7-10PM.

Hunter is one of my favorite DMV painters, and her work and technical facility with the brush has to be seen to be believed. Go see this show.

Artists' Websites: Marina Reitner


Marina Reiter was born in Moscow, Russia and she currently resides either in Washington, DC or New York City. She received her B.A. and M.A. degrees from Moscow State University, where she studied literature, fine arts, and art history. In the US, Marina studied art at the Corcoran College of Art and Design and the Torpedo Factory Art School. Check out her website here.

Defending Rockwell

Just in case that you thought that I was the only art critic on the planet defending the current Norman Rockwell exhibition at the Smithsonian American Art Museum, Ryan L. Cole, who writes from Indianapolis on politics and culture for the City Journal, shares my point of view about Rockwell and his critics:

Critics would likely seize upon the sight to observe that popular approval does not equal artistic quality, especially when the art in question is insufficiently socially aware. Certainly that’s the view of Washington Post art critic Blake Gopnik, who in reviewing the show derided Rockwell as the cowardly, “aw, shucks” epitome of Middle America. Rockwell “doesn’t challenge any of us, or himself, to think new thoughts or try new acts or look with fresh eyes,” wrote Gopnik. “From the docile realism of his style to the received ideas of his subjects, Rockwell reliably keeps us right in the middle of our comfort zone.”

This perception of the artist’s work as soothing sentiment for the masses is nothing new, but “Telling Stories” proves it simplistic. The show, drawn from the collections of fellow storytellers George Lucas and Steven Spielberg, confirms that Rockwell had a deep understanding of America’s character and a masterly ability to convey it to canvas. True, his vision focused on our virtues, not our sins. But only in the self-loathing landscape of contemporary intellectual thought would that be cause for criticism.

Read the review here.

Binstock at the Katzen

Currently on exhibition at American University's Katzen Museum is Alan Binstock: Way-Stations. The exhibition drives home a couple of important points: (1) The Katzen's presence continues to be a major player not only in the "local" DMV art scene, but its unique design and exhibition space delivers an opportunity for large scale artwork to be exhibited in the perfect setting for size and appreciation, and (2) The DMV is one powerful magnet area for talented artists working with glass as the main substrate.

As one walks around the minimalist and somewhat Teutonic courtyard around the Katzen, the large scale sculptures by Binstock (most of which are glass, resin and steel) resonate with the space and represent a wonderful opportunity to check out one of the DMV's most gifted sculptors.

Terra by Alan Binstock
In Terra, Binstock accomplishes the successful marriage of these materials in a piece that allows to viewer to admire the work from a distance, as a cosmic visitor might, or from underneath; as if from within the attractive model of the Earth itself.

This positioning of the perspective repeats itself in most of these large scale works: A two-pronged approach at observing and interacting with the work itself. In Tradak (which means "gazing meditation" in Sanskrit), a far view reveals an enticing and slim architecture that suspends a hanging globe of green glass. As the cosmic view is reduced to a closer inspection, the piece offers three open seats within its design, further inviting closer inspection of the globe.

The title of the exhibition (Way-stations), refers to Clifford D. Simak's classic 1960s science fiction novel about virtue and galactic travel. And perhaps the piece which best exemplifies Simak's morality tale is "Chapel."


Chapel by Alan Binstock
There is a quiet and universal elegance to the work that manages to place it as both a stopping place on the light-years trek from Earth to perhaps asteroid B612, or the miles long medieval pilgrimages from northern European cities and villages to Santiago.

The exhibition goes through October 24.

Joe White at Jane Haslem

Artists' Talk Today

The show is at the School of Art & Design at Montgomery College's King Street Gallery, located in the beautiful Morris & Gwendolyn Cafritz Foundation Arts Center at 930 King Street in the Montgomery College, Takoma Park/Silver Spring Campus.

And the associated artists' panel is today at noon, for one hour. The artists and curator will be discussing the show and taking questions.

I will be available at the panel and after the panel to discuss and answer any questions that you may have about anything dealing with the visual arts, career, galleries, etc.

Dream songs

I had the lyrics to this song come to me in a dream... and also the music to it, which I have now forgotten. It's sort of an homage to my father.

Pá Guantanamo

Con cuatro pesos vamos a jugar los gallos
Y en caballo nos vamo pá Caimanera
Ya que en Los Caños siempre gana Campello
Ese gallego no pierde desde antaño

En Caimanera juegan mucho lo Americano
Y por eso espero que triunfe mi gallito sano
Y si gana facil mi gallito bueno
Ahi mismito empieza la parrandera

Pá Guantanamo salimo en caballo
Pá Guantanamo a cojer la borrachera
Pá Guantanamo a tomar un palo bueno
Pá Guantanamo a bailar un son montuno

Pá Guantanamo salgo de Caimanera
Pá Guantanamo a bailar con la jeva entera
Pá Guantanamo a buscar los tragos buenos
Pá Guantanamo en fiesta gallito bueno

Yo nunca má juego en Los Caños
Ya que alli siempre gana ese gallego
Ese Ciclón no pierde de hace muchos años
Y a mi gallo y bolsillo le ha hecho much daño

En Caimanera juegan mucho lo Americano
Y por eso espero que triunfe mi gallito sano
Y si gana facil mi gallito bueno
Ahi mismito empieza la parrandera

Pá Guantanamo salimo en caballo
Pá Guantanamo a cojer la borrachera
Pá Guantanamo a tomar un palo bueno
Pá Guantanamo a bailar un son montuno

Pá Guantanamo salgo de Caimanera
Pá Guantanamo a bailar con la jeva entera
Pá Guantanamo a buscar los tragos buenos
Pá Guantanamo en fiesta gallito bueno

Myth & Transformation Opening

Dr. Claudia Rousseau curated an amazing show. More on that later but for now, that's me sans mustache, Little Junes and the photography legend known as Lida Moser at the opening. Pic courtesy of Laura Seldman.


The show is at the School of Art & Design at Montgomery College's King Street Gallery, located in the beautiful Morris & Gwendolyn Cafritz Foundation Arts Center at 930 King Street in the Montgomery College, Takoma Park/Silver Spring Campus.

There will also be an artists' panel tomorrow, Monday, Sept. 27, at noon, for one hour. I will be available at the panel and after the panel to discuss and answer any questions that you may have about anything dealing with the visual arts, career, galleries, etc.

Artists' Talk

At the awards ceremony (for the Marlboro Gallery's 2nd National Juried Sculpture Exhibition) on September 17th, juror Molly Donovan, Associate Curator at the National Gallery of Art, presented awards to Millicent Young, winner of the Kari Beims Sculpture Award for Best in Show, Emily Biondo, 2nd place winner, Karen Bondarchuk, 3rd Place winner, Christina Day, Honorable Mention and Adam Bradley (who is in my 100 Washington Artists book), Honorable Mention.

A total of $3400 in prizes was awarded including the $2000 prize that accompanies the Kari Beims Sculpture Award for Best in Show.

The artists will be discussing their work in an open panel discussion on
Thursday, September 30th, from 11am - 12pm in the Marlboro Gallery.

WALA events this coming week

The Washington Area Lawyers for the Arts has a couple of cool events lined up for this coming week: On Monday 9/27, the Writer's Evening will be hosted at the International Arts & Artists, Hillyer Art Space and Thursday 9/30, an Artful Evening will be hosted at Industry Gallery and Conner Contemporary.

Click on the links for details and tickets.

From Univision

Reporting stuff that gets reported in Spanish language newscasts that never makes it to the mainstream media: There are "elections" coming up in Venezuela in a couple of days.

During the last "elections", the opposition to Hugo Chavez skipped them, because of fraud accusations ahead of the elections. This year they are apparently going through the paces, although they are still claiming that Chavez is rigging the "elections" to favor his continued elected dictatorship.

The fucker is not even trying to hide it. According to Univision, of Venezuela's 17 million registered voters, one million of them were born on the exact same day.

Paying for art

Here’s an unhappy scenario: a young gallery, with nearly empty coffers, hasn’t collected payment on six of the seven sales the dealer closed at a June satellite art fair in Basel. The dealer—who paid all fair-related expenses months ago—needs to cover his rent and overheads. He can’t pay the artist, who needs money for his own bills plus materials for an autumn show. To make matters worse, the dealer must remain calm and detached, while trying to extract payment. “It’s this old-school gentleman thing,” the dealer told me. “You don’t want to appear desperate.”

Lindsay Pollock in the Art Newspaper; read it here.

Head North...

Andrew Wodzianki's Super! will open at the BlackRock Center for the Arts on Wednesday, September 29, and will run until Monday, October 25 with an artist reception schedule for Friday, October 1, from 5:00 to 7:00 p.m.

"We are thrilled to have the edgy, fun, thought-provoking and talked-about work of Andrew Wodzianski in the BlackRock Gallery,” said Gallery Coordinator Kim Olney."

In an interview with the Gazette newspapers, Wodzianski said, “I just started to play on my fantasy, which was to gender bend [the figures].” For instance, one image shows Clark Kent in a dress with heroic Lois Lane carrying him through the air and another depicts Alice in Wonderland investigating the skirt of Wonder Woman.

Opportunity for Artists

Deadline: November 12, 2010

Gallery West in Old Town Alexandria has a call for artists for their 14th Annual National Juried Show (Exhibit Dates: February 9–March 6, 2011).

The all media show will be juried by yours truly and awards to total $1,000. Click here to download the prospectus.

Losing Hope

The artist whose poster of Barack Obama became a rallying image during the hope-and-change election of 2008 says he understands why so many people have lost faith.

In an exclusive interview with National Journal on Thursday, Shepard Fairey expressed his disappointment with the president -- a malaise that seems representative of many Democrats who had great expectations for Obama.

Read it here.

Cuban gay activist arrested

Last Friday, the Castro dictatorship arrested gay activist Aliomar Janjaque Chivás, president of the LGBT Reinaldo Arenas Foundation, for collecting testimonies that documented abuses against the gay community in Cuba.

The testimonies were to form part of a legal proceeding initiated at the International Court of Justice (ICJ) in The Hague against the Castro regime for "crimes against humanity." They were subsequently confiscated by the Cuban authorities.

Janjaque was arrested while interviewing various men who had been interned in labor camps due to their sexual orientation.

New Drawing

I've fallen in love with the drawings, paintings and prints by 19th century German artist Ida Teichmann. Below is my homage to one of her best known works: Sleep.

Sleep (Homage to Ida Teichmann). Charcoal and conte on paper. 4 x 26 inches


Detail

Job in the Arts

The Cultural Development Corporation (CuDC), a non-profit organization dedicated to creating opportunities for artists and arts organizations that stimulate economic development and improve the quality of life in the DC metro area, is accepting applications for the position of Development Manager.

This full-time position works closely with the Director of External Relations to support organizational fundraising activities. This position will focus on individual donor development and special events but will encompass all aspects of fundraising.

Responsibilities:

· Work with External Relations Director to create and execute strategies for individual donor engagement including regular communication, fulfillment and outreach.

· Research, write and submit solicitation letters, proposals and reports for all sources of contributed income.

· Manage special events including Annual Gala, Source Festival Opening and 4-6 smaller events annually.

· Develop strategic relationships in the community and partnerships with other businesses/organizations.

· Work with Communications Manager on donor outreach strategy in conjunction with rebranding efforts.

Requirements:

· Dynamic fundraising skills with at least three years experience and proven track record

· Creative thinker with new ideas for donor engagement

· Superb writing, communication and analytical skills

· Bachelor’s degree or equivalent experience

· Exceptional organizational and time management skills

· Expertise in MS Office, experience with QuickBooks Pro and Raiser’s Edge a plus

· Ability and willingness to work flexibly in a fast paced, fast growing non-profit environment

Salary: Commensurate with experience

How to apply: To apply, submit a resume with cover letter to:

Cultural Development Corporation
Development Manager Search
916 G Street, NW
Washington, DC 20001
e hr@culturaldc.org
f 202.315.1303

Initial review of candidates will begin immediately, but applications will be accepted until October 15, 2010.

See ya tonight!


Tonight is the opening for my first substantial exhibition in the DC area in four years. The show is at the School of Art & Design at Montgomery College's King Street Gallery, located in the beautiful Morris & Gwendolyn Cafritz Foundation Arts Center at 930 King Street in the Montgomery College, Takoma Park/Silver Spring Campus.

The opening is tonight, Thursday, September 23, 5:00 – 7:30 pm. I hear there will be a TV crew at the opening, so it sounds like a fun night. There will also be an artists' panel on Monday, Sept. 27, at noon, for one hour. I will be available at the panel and after the panel to discuss and answer any questions that you may have about anything dealing with the visual arts, career, galleries, etc.

Top 6 mustaches in local arts

Can I just say Yay!

My mustache has just made the it to the "Top 6 mustaches in local arts"!

Check it out here.

My dear mustache is a "come and go" mustache these days... I keep growing it and then taking it off, then I grow it again, then I take it off...

I've had a mustache since I was like 16 or 17... and I hate shaving; especially my upper lip. Every time that I shave it this happens: I am well asleep and then I turn over and my naked lip hits the cold pillow and it wakes me up.

Arrrrgh!

Between somewhere in 1972-3 and 2009, the only time that I didn't have a mustache was when I was in Navy bootcamp.

And between 1974 and 1983 I had a full beard, which returned sporadically (such as when I served temporary exchange duties in the British Royal Navy in 1987-1989).

Then full again a beard from 1997-1999 when I sort of went Bohemian for a while again.

The Lenster in 1997
And then around 2004/5 the now classic waxed mustache made its initial appearance. And off and on from there on...

And it has had its payoff for me: I once got a free burrito at Chipotle because the lady making the yummy food really liked my bigote (Spanish for mustache) and gave me a free burro.

Congrats to fellow artists Adrian Parsons and Andrew Wodzianski, who also made the list... and BTW... please note how the "Arts" mustaches kick ass versus the politicians' mustaches.

Coolio Julio Jenny Rogers!

P.S. Emmett Burns (Clarence Thomas doppleganger at the bottom here), you need a new picture dude; a little smile would get a few thousand more votes next time!

There are those who build and those who destroy

(Via) Unfortunately, those that destroy remain in power in Cuba. Meanwhile, Cuban-Americans have just lost one of the greatest from those who build.

Last week, Ysrael A. Seinuk passed away in New York.

Seinuk, a worldwide authority on the design and construction of high-rise concrete and steel buildings, was a native of Cuba and a graduate of the University of Havana before going into exile in 1960.

Amongst his most notable New York projects are the Trump World Tower, Bear Stearns World Headquarters, Time Warner Centre at Columbus Circle, Trump's Riverside South apartments, the New York Mercantile Exchange, Four Time Square, 515 Park Avenue, the "Lipstick" Building, Trump Tower on Fifth Avenue, the Arthur Ashe Tennis Stadium in Flushing Meadows, 7 World Trade Center, The Galleria and the landmark 450 Lexington Avenue.

And those were just his New York projects. From Mexico City to Dubai, his work remains a testament to his unique talent. Yet, Cuba always remained prominently in his heart.

During a 2005 interview with the BBC, Seinuk was asked:

If you had the opportunity to return to Cuba tomorrow and were free to build something, what type of building would you erect and where?

His answer:

"Well, the key word in your question is freedom. Assuming things would take a normal path, towards democracy, I would go to Cuba even if it were to only build a small hut."

May he rest in peace.

The place to be tomorrow is...

First Campello gallery exhibition in DC area in 4 years!

Tomorrow is the opening for my first substantial exhibition in the DC area in four years. The show will be at the School of Art & Design at Montgomery College's King Street Gallery, located in the beautiful Morris & Gwendolyn Cafritz Foundation Arts Center at 930 King Street in the Montgomery College, Takoma Park/Silver Spring Campus.

There will be all new drawings in my constant exploration of using the human figure to deliver social, historical, satirical, mythological and political messages. The show also includes work by the immensely talented Johanna Mueller, who was one of my top picks from the last Artomatic and whom I predict will steal the show, as well as Leah Frankel and Leslie Shellow, both of whom are new artists to me.

The show is curated by Dr. Claudia Rousseau and is:

An exhibit of works on paper depicting mythical themes, or themes connoting transformations—mythical, magical or organic.

The exhibit will include prints, drawings and installation works employing paper with wax and other media.

The opening is tomorrow, Thursday, September 23, 5:00 – 7:30 pm. I hear there will be a TV crew at the opening, so it sounds like a fun night. There will also be an artists' panel on Monday, Sept. 27, at noon, for one hour. I will be available at the panel and after the panel to discuss and answer any questions that you may have about anything dealing with the visual arts, career, galleries, etc.

The Hirshhorn Bubble

The National Mall in Washington has seen all sorts of enterprises over the years, but who would build a translucent, inflatable bubble there, protruding from the doughnut-shaped Hirshhorn Museum and looking, from renderings, like a giant jellybean colored robin's egg blue? And why?

That would be Richard Koshalek, the Hirshhorn's voluble director, who when announcing the 145-foot-tall bubble last December uncharacteristically said little about its purpose other than that it would host four week-long international events, every spring and fall, about contemporary art and culture.

Judith H. Dobrzynski writes in the WSJ about Richard Koshalek's visions for the Hirshhorn. Read it here.

Critical Exposure

Critical Exposure is a DC-based non profit organization which teaches DC public school students the power of photography and their own voices to advocate for school reform and social change.

Their upcoming auction, which is their largest fundraiser of the year, is coming next month. They will be auctioning off works by Mario Tama, Damon Winter, Jahi Chikwendiu and Ed Kashi, (as well as many others!)

The event is October 21st at the DLA Piper Building Atrium (500 Eighth Street, NW
Washington, DC 20004). You can buy tickets here or for more details contact:

Emma Scott
Critical Exposure
1816 12th St. NW
Washington, DC 20009
(202) 745-3745 ext. 20
www.criticalexposure.org
emmascott@criticalexposure.org

Artists' Websites: Johanna Mueller

I first came across the work of Johanna Mueller at the last Artomatic and was immediately seduced by it.

As her website declares, the prints of Johanna Mueller are imbued with personal mythology as she draws from her own narrative, cultural and historical references, pattern and design, and ancient myth and legend. The animals in her work are elevated from beast to mythic status as they take on human emotions and become metaphoric portraits of the artist and others.

You can see some of Mueller's work at the Myth & Transformations exhibition which opens this Thursday, September 23, 5:00 – 7:30 pm. The show is at the School of Art & Design at Montgomery College's King Street Gallery, located in the beautiful Morris & Gwendolyn Cafritz Foundation Arts Center at 930 King Street in the Montgomery College, Takoma Park/Silver Spring Campus right off Georgia Avenue with plenty of free parking.

Joanna's work is also currently on view at the Arlington Arts Center in the FALL SOLOS 2010 exhibit. Exhibition dates: September 10 – November 7, 2010.

I hope Gaithersburg Germantown is ready for this...

Just noticed

Yesterday I was strolling Little Junes through the quad at American University and we stopped to look at the "Seurat" elephant sculpture by Sam Gilliam which is one of the "Party Animals" public art projects that the DC Commission on the Arts and Humanities did a few years ago. As you may recall, artists painted a couple of hundred donkeys and elephant statues which are now all over the city.

The Gilliam elephant is right in front of the School of History building at AU and the poor beast is falling apart. I don't know if this is happening to any of the other "party animals" sculptures (or the similar panda project), but the elephant is riddled with surface cracks, as it appears that the elements have won the battle with the finishing element of the fabrication and the sculpture is cracking all over the place.

A Connie Slack panda across the quad seems to be in good shape, although if I remember right, the "party animals" preceded the pandas. But now I wonder if any other of these outdoor pieces are showing the effects of the DMV's severe weather extremes.

Zappa Sculpture in Baltimore

Mike Licht has some really good background info on the new Zappa sculpture for Baltimore.

Omnipresence

To coincide with the 2010 Congressional Black Caucus, the Black Artists of DC (BADC) were invited to present works at the Mandarin Oriental Public Art Gallery from September 17- Mid October, 2010. This project was sponsored in part by the DC Commission on the Arts and Humanities.

Included in this exhibit, "Omnipresence", are a wide array of approaches and disciplines. Established artists such as E. J. Montgomery, Martha Jackson-Jarvis and Michael Platt are presented along side emerging artists, Daniel Booking, whose iconic photo of the black male nude, and Shaunte Gates' quasi graphic painting are both noteworthy.

In this small survey show of black DC artists, there are investigations that range from the conceptual to the painterly and each discipline or point of departure is handled proficiently. The digital divide between the graphic arts and the brush is being bridged. Worth a look-see to find out how the continuum of "AfriCobra" principles translate in the 21st Century, check this show out, which marks the vision of a young and upcoming curator in Zoma Wallace.

Vanity Galleries

A vanity gallery is an art gallery that "rents" its space to artists in order for the artist to have a show. Thus, the main driver in having a show at a vanity gallery is not necessarily the quality of the artwork, but the artist's ability to pay the gallery to host his/her artwork.

I wrote this article on vanity galleries over six years ago and it is still getting new comments and an interesting argument between gallery dealers and artists. Read it and comment here.

Dr. Claudia Rousseau on Myth and Transformations

Myth & Transformations opens Thursday, September 23, 5:00 – 7:30 pm. The show is at the School of Art & Design at Montgomery College's King Street Gallery, located in the beautiful Morris & Gwendolyn Cafritz Foundation Arts Center at 930 King Street in the Montgomery College, Takoma Park/Silver Spring Campus. Here is the essay about the show by its curator, Dr. Claudia Rousseau:

Myth and Transformations

As I was thinking about organizing this exhibition, I was inspired by the work of the four artists who so graciously accepted the invitation to show their work together here. These are Leah Frankel, Johanna Mueller, Leslie Shellow and F. Lennox Campello. All of them have been working and exhibiting in the Washington DC region for some time, and all of them, in one way or another, have shown interest in the themes of mythology and transformation.

Mythology has always captivated me. Since childhood I have loved the ancient stories that so often involve transformations to explain the origins of things, from animals to trees and stars. The ancient Roman writer Ovid’s wonderful book, the Metamorphoses, is all about change, and many of those tales, one might imagine, were, by Ovid’s time, already understood in metaphorical terms. My extensive researches into mythology—first for my master’s thesis into the Celtic legends that served as bridges to the Christian faith in Ireland, and later, for my doctoral dissertation, into astrological lore and tales of the origin of constellations—have filled me with a great love for this most human of practices. Mythology is universal, and many, probably the majority of myths, involve the theme of transformation.

Artistic expression of the concept of transformation, and allusion to mythological themes or archetypes is not limited to existing myths. Indeed, it is not limited to figural styles. The idea of transformation, especially as in so many myths, from some dark place into the light, from animal to human or human to some other form, from one plane of existence into another, can be expressed by abstract means. And, since the archetypes of myth are universal, they can be manipulated into new stories and meanings.

The work of Johanna Mueller fully illustrates this last point. Her work employs a mythical framework, most often without alluding to specific mythic sources. Hers is a personal world of fable, where the lioness is enlightened and the deer are connected by heartstrings. Many animal characters re-appear in her work, sometimes morphing into others. Mueller herself has said, “I want to create something of a ritual space, to create the feeling of the symbolic spirits of my creations moving from one form to another. I think that having these repeating forms take on different shapes and sizes helps to convey that idea.” Thus, the concept of transformation is also a part of her iconography. Mueller’s incredibly detailed plastic plate engravings provoke and resonate in the mind of her viewers, touching on their own mythologies.

F. Lennox Campello’s drawings are more grounded in familiar stories from ancient Greek, Roman and Celtic mythology, and from martyrology and hagiography. Campello’s Minotaur rises up with all the frightening strength that such a hybrid monster can project, dark and menacing. His Witch Dub shrieks in the black water that is the origin of the city of Dublin. The story of St. Sebastian, a favorite subject of artists since the Renaissance mainly because it was an opportunity to represent a male nude in Christian art, has had a new life in contemporary expression as the target of misunderstanding and persecution of all kinds.

On a more organic and less specific level, Leslie Shellow’s installation connotes the mythology of the Great Mother, the goddess who gives forth the life of the earth—plants, flowers, animals, people. Her paper forms and delicate drawings seem to literally be growing in the gallery, taking over the spaces. In this, Shellow’s work expresses both the benevolence of the Goddess, and her dark side as well. While Nature is life-giving, it is also chaotic and unpredictable, irrational and capable of great destruction. Shellow’s sensitivity to the transformational character of growth is evident, and accounts for the surprising power of her work. Simple paper rings are transformed into evidence of being.

Finally, the hand-made paper works of Leah Frankel express the notions of myth and transformation in more abstract ways. Frankel’s Grade is a work that connotes transformation from darkness into light, a theme that is at the core of many myths. Being abstract, the work provides a mythical framework that can carry stories projected on it by the viewer. The myth of Orpheus comes to mind, but so many stories about moving through the darkness to the light, to new life—or, even more fundamentally, the hidden mystery of birth—a theme that goes back as far as human pre-history. The Paperstack also shows movement from bottom to top, gently transforming the piled papers into a moving form. Frankel’s work is open to viewer interaction, providing a space for thought and physical response that is deeply personal.

Claudia Rousseau, Ph.D.
School of Art + Design at Montgomery College
September, 2010

Jerry Saltz on Bravo's Work of Art

But Work of Art reminded me that there are many ways to become an artist and many communities to be an artist in. The show also changed the way I think about my job. Over the ten weeks it aired, hundreds of strangers stopped me on the street to talk about it. In the middle of nowhere, I’d be having passionate discussions about art with laypeople. It happened in the hundreds, then thousands of comments that appeared below the recaps I wrote for nymag.com. Many of these came from people who said they’d never written about art before. Most were as articulate as any critic.

Read Saltz's thoughts on the show here.

MPAartfest Artists announced

MPAartfest juror, Trudi Van Dyke, has selected forty-four artists to participate in the fourth annual MPAartfest on Sunday, October 3, 10:30 am - 4:30 pm in McLean Central Park.

Ms. Van Dyke, an independent curator and fine arts consultant said "As always, the MPA is a magnet for all good things art and the applications submitted to MPArtfest were no exception. It was both an outstanding opportunity and awesome responsibility to select from a broad pool of artists. I am looking forward to joining the community in attending this great festival." Of the selected artists, twelve are from the McLean/Great Falls area and sixteen are new to MPAartfest.

MPAartfest transforms McLean Central Park into a lively art gallery featuring the sale of the fine arts and crafts of 44 artists. MPAartfest includes fun activities for both children and adults, as well as live music and refreshments. There is no charge to attend MPAartfest, although a donation of $5 is greatly appreciated which helps support McLean Project for the Arts and this special community event.

MPAartfest artists for 2010:

Banks, Jill -- oil painting
Barbieri, Ann -- abstract painting and drawing
Brown, Tavia -- jewelry
Bucci, Thomas -- printmaking monoprints
Burke, Cynthia --painting
Burris, Eric -- mokume gane jewelry
Campello, F. Lennox -- drawing
Cassidy, Katie --oil and acrylic painting
Ciminio, Lisa --jewelry
Deans, Karen -- oil on panel
Emrich, Hanna -- mixed media and collage
Farrow-Savos, Elissa -- sculpture
Fields, Laurie -- mixed media paintings
Ganley, Betty -- traditional watercolor
Green, Michele -- landscape painting
Grisdela, Cindy -- quilting
Hachey, Hilary -- jewelry
Hatfield, Jennifer Bernhard -- whimsical ceramics
Hubacher, Karen -- mixed media paintings and collographs
Jensen, Jill -- handpainted and handprinted wallhangings, scarves, journals
Jolles, Ronni -- layered paper and pastel
Katz, Lori -- clay
Knott, Greg -- photography
Lansaw, Julie Lea -- landscape paintings
Lester, Cherie -- painting/collage
Mahan, Val -- nature photography
McGihon, Marty -- mixed media
Michelle, Jenae -- fiber -- one of a kind handbags
Nimic, Gisele -- ceramics/collage
Paredes, AnaMarie -- metal sculpture
Peery, Laura -- ceramics
Reiber Harris, Kristin -- drawings/monoprints
Rosenstein, Lisa -- mixed media paintings -- white on white
Rosenstein, Loren -- silk scarves
Rubel, Erika -- mixed media
Saenger, Peter -- ceramic
Singh, J.J. -- jewelry
Slack, Connie -- abstract paintings
Staiger, Marsha -- abstract collage
Trump, Novie -- sculpture
Tsai, Irene -- chinese watercolors on rice paper
Vardell, Mollie -- oil paintings
Williams, Ann Marie -- abstract paintings
Woody, Curtis -- mixed media paintings

For more information about McLean Project for the Arts and MPAartfest, please visit www.mpaart.org or call 703-790-1953.

Airborne


Heading back home today... busy week next week with an opening and then an arts panel... more later.

Opportunity for Artists

Deadline: November 12, 2010

Gallery West in Old Town Alexandria has a call for artists for their 14th Annual National Juried Show (Exhibit Dates: February 9–March 6, 2011).

The all media show will be juried by yours truly and awards to total $1,000. Click here to download the prospectus.

E. Carmen Ramos is new SAAM Curator for Latino Art

The Smithsonian American Art Museum has appointed E. Carmen Ramos as its curator for Latino art. Ramos will be responsible for acquiring artworks for the museum’s permanent collection and producing a major exhibition and catalog based on the museum’s Latino holdings for fall 2013. She begins work on Oct. 12.

“I am thrilled that E. Carmen Ramos is bringing her expertise and insights here to help us feature Latino artists who transform personal experiences and cultural heritage into vivid artworks,” said Elizabeth Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “These stories are culturally specific, but also American and universal.”

I'm a little confused by Ms. Broun's comment. It seems to set a niche for what Latino artwork will be collected, specifically those "who transform personal experiences and cultural heritage into vivid artworks."

As I've discussed many times in this blog and many other places before, I am not a big fan of segregating artists by race, or as in this case, by ethnicity.

And if I understand the current meaning of "Latino" these days, it attempts to define people of ancestry links to one of the Latin American nations south of the border and in the Caribbean, while excluding all the nations of British, Dutch or French colonial ancestry (even though the French are technically "Latins"). I'm still a little confused if a "Latino" is an American with Latin American ancestry, or if it also includes people from those Latin American nations. In other words, are Uruguayans "Latinos" or Uruguayans, or both? Certainly Spaniards, Portuguese and Italians (who make up most of Argentina) are not Latinos, since they're Europeans, right?

This is a silly label which falls apart very quickly when truly examined, and actually reveals the huge cultural ignorance that we have about what constitutes and makes up ethnicity and race as opposed to nationality. So if you're born in a Latin American nation, then you're a Latino under this uniquely American ethnic label.

Never mind if your parents were born in Japan and immigrated to some South American nation (there are more Japanese immigrants in South America than in the US), or born in Wales and immigrated to Argentina (there are more people of Welsh ancestry in Argentina than in Wales). Or my personal favorite, the millions of Native American tribes, who find themselves labeled as "Latinos" in the US instead of Maya, or Inca, or whatever Native American nation they belong to.

But that's another issue.

Back to collecting "Latino artists who transform personal experiences and cultural heritage into vivid artworks."

I'm pretty sure that Ms. Broun didn't really mean it the way that this came out, but to me it shows an immensely limited view or expectation of the artwork produced by we have labeled in this nation as "Latino" artists. As a stroll through any major Latin American museum reveals to the most casual observer (just like any museum in Europe or the US) Latin American artists explore all sorts of things for the inspiration for their work, and not all deliver "vivid artworks" and not all use their "personal experiences and cultural heritage" as a driver for their artwork, at least all the time.

Not all Latino artists are Frida Kahloesque in their artwork, and certainly not all Latino artwork is "culturally specific." I'm having a hard time finding a personal experience, or cultural heritage, or even any vividity in the work of (for example) Guillermo Kuitca (soon coming to the Hirshhorn - October 21, 2010 to January 16, 2011).

I know I am being pedantic, but statements like this do reach a niche in my consciousness that tend to bug me more than they should. It is driven by a firm belief that museums should collect artwork based on the merit of the artist and the art, and not on the artist's ethnic, sex or racial background. And I really think that the statement from Ms. Broun have the unintended consequence of revealing a rather galvanized and incorrect view of what drives artists.

I'm not sure if I have made my point clear, as it is a confusing issue. Perhaps the best way to showcase this issue is to pretend that SAAM was hiring a new curator for Nordic art. This would immediately cause some confusion in defining Nordic (as there is confusion in defining Latino). Are Germans Nordic or Teutons? How about Finns? certainly not Laplanders, but they are also Finnish. And Ms. Broun's statement would read:

“I am thrilled that E. Karmen Ramosdottir is bringing her expertise and insights here to help us feature Nordic artists who transform personal experiences and cultural heritage into brooding artworks,” said Elizabeth Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “These stories are culturally specific, but also American and universal.”

In any event, F. Lennox Campello welcomes E. Carmen Ramos to the DMV.

Set aside September 23rd!

First Campello gallery exhibition in DC area in 4 years!

Opening on Sept 20 and through Oct. 15 I will be having my first substantial exhibition in the DC area in four years. The show will be at the School of Art & Design at Montgomery College's King Street Gallery, located in the beautiful Morris & Gwendolyn Cafritz Foundation Arts Center at 930 King Street in the Montgomery College, Takoma Park/Silver Spring Campus.

There will be all new drawings in my constant exploration of using the human figure to deliver social, historical, satirical, mythological and political messages. The show also includes work by the immensely talented Johanna Mueller, who was one of my top picks from the last Artomatic and whom I predict will steal the show, as well as Leah Frankel and Leslie Shellow, both of whom are new artists to me.

The show is curated by Dr. Claudia Rousseau and is:

An exhibit of works on paper depicting mythical themes, or themes connoting transformations—mythical, magical or organic.

The exhibit will include prints, drawings and installation works employing paper with wax and other media.

The opening is Thursday, September 23, 5:00 – 7:30 pm. I expect to see all of you there to make me look good...