Opportunities for Artists:

Deadline: March 15, 2003. The David Rockefeller Center for Latin American Studies at Harvard University in Cambridge, MA is currently seeking portfolios and/or slides and resumes from artists who do work related to Latin America, the Iberian Peninsula in Europe, or Latinos in the U.S.

Work from all styles and traditions, except for freestanding sculpture and installations, will be considered. Open to all artists with interests in Latino/Latin American/Iberian issues. Latino/a artists and artists from Latin America and Europe (Spain and Portugal) are particularly encouraged to apply. The Center will select a limited number of artists to exhibit for the 2004-2005 academic year. Artists may submit a maximum of 10 slides with SASE for return.

Work cannot exceed 70 lbs. Only hanging work that is properly framed, wired, and ready to hang will be considered.

Send to:
Jose L. Falconi, Art Forum Coordinator
DRCLAS Latin American and Latin Art Forum
Harvard University
61 Kirkland Street
Cambridge, MA 02138

For my view on "Latino" art visit Cultureflux.

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For Photographers:

Deadline February 1, 2004. Alexia Foundation for World Peace: Annual Photography Award of $15,000 is offered for the production of a proposed project. The Alexia Foundation seeks to "provide the financial ability for a photographer to produce a substantial picture story that furthers the foundation's goals of promoting world peace and cultural understanding."

For more information contact David Sutherland at dcsuther@syr.edu or on the web at Alexia Foundation.

Last year, local photographer Stefan Zaklin from Arlington, Virginia was one of the three finalists. Zaklin also won first prize in Poynter's Magazine Portrait competition with this image.

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And this is really an interesting one...

Creative Art Technologies is looking for original Pop Art style art work and images to license and reproduce digitally in the form of oil paintings, murals, and corporate art - artwork and images in the style of Warhol, Lichtenstein, Max, etc. They are looking for original Pop Art artwork owned completely by the artist only.

All artwork must meet copyrights standards prior to being used. Artists retain the copyrights of their work. Royalties are paid in accordance with each agreement. For more information on their licensing program and where to send a sample of your work contact Creative Art Technologies (561) 832-8055, e-mail: info@catstudios.com or visit their web site. Full information will be sent to artists whose samples are of interest. They are also looking for digital artists to convert photographs and portraits to a pop art style.

Molly Rupert, from Warehouse Gallery passes that she has a group show now until December 15 titled "Artex: Off the Clock." It's work created by artists who support themselves by working in the fine arts community.

There are 22 artists included and I particularly like Brad Rudich, whose daytime job is exhibit preparation, installation, and nearly every aspect of artifact care and handling for most of our area museums. I own one of Brad's pieces that I bought at last year's Art-O-Matic.

Warehouse Gallery, Theater and Coffee Bar is one of the really great cultural assets in our area, and they've been one of the anchors of the revival of the Shaw area.

The Jackson Art Center is hosting their Open Studios next Sunday, December 7 from noon to 5 PM. They are located in the historic Jackson School opposite Montrose Park and near Dumbarton Oaks. There is ample street parking nearby. Food, wine and soft drinks will be served. For further info contact Sue DuFour (301) 986-1386 or Liz Naden (301) 424-9440 or visit their website.

Faith Flanagan organizes MUSE, which is a monthly art salon at DCAC. Each session is an opportunity to talk about contemporary art at a monthly get-together. Each salon features a discussion with a member of the local arts community, followed by a chance for audience members to show slides or samples of their work.

The next MUSE is December 7, 2003 at 7:30 P.M. when the guest will be Anne Corbett, Executive Director, Cultural Development Corporation. A new MUSE will be organized the first Sunday of each following month. For more info email Faith at salon@dcartscenter.org.

Can't wait to see this: In 1946 Salvador Dalí did a cartoon for Walt Disney titled “Destino." It was never finished until recently, when computer-generated images finished the last few frames. Read the entire story and see some clips from the cartoon at NPR.

Also lots of good images from the cartoon here.

The former Art Editor for the British newspaper The Guardian discusses how and why a newspaper should have a high commitment to supporting the arts.

The interesting point in this article by Ian Mayes is that fact that he discloses that between the Guardian and the Observer (owned and run by The Guardian), they employ about 60 art critics backed by a similar number of editors and subeditors!

And they made a deliberate effort to provide arts coverage in spite of the fact that "...the commitment is not simply or primarily a commercial one. In terms of revenue for the paper, many areas of the arts would not pay for the coverage."

I would guess that our own Post, which has a daily circulation of around 600,000 printed papers, and gets around two million hits a day for its website, and owns several other newspapers, is probably about twice the size of the Guardian newspapers.

Does anyone want to count the number of Post critics and see if they employ or use more or less than the Guardian?

Linda Hales takes a look at the Freer Gallery's "Mr. Whistler's Galleries: Avant-Garde in Victorian London," which opened a few days ago. This is a "different" show in the sense that the Freer has attempted to re-create two famous Whistler London shows -- "Arrangement in White and Yellow" (1883) and "Arrangement in Flesh Colour and Grey" (1884) -- to show how Whistler revolutionalized the then standard rules of displaying art and set a new style for exhibiting artwork in gallery shows that is still in use to this day.

Some people think that Whistler's unorthodox use of acrid colors was perhaps due to the fact that he may have been partially color blind.