2005 International Digital Art Awards

Deadline: 30 November 2004.

All artists working in digital media are eligible to enter this competition. The IDAA seeks to present the very best artists working in 2D digital stills and New Media art.

The IDAA was one of the first international awards to present an online and touring hard copy exhibition with publication.

2005 program will also include a fully integrated web conference featuring several leading international artists and academics. The 2005 prize list is extensive and can be viewed online. It is worth mentioning that Epson and DES will be supporting two artists with special printing prizes in the 2D category.

The IDAA is a major award and offers free entry to all artists.

Deadline for entries is 30 November 2004 - Those artists who enter before October 30 will be eligible to win the new G 600 Konica Minolta 6 meg Digital Camera.

Enter at this website.

Jack Vettriano continues to be ignored and snubbed by the British cultural gods, and yet the self-taught ex-miner continues to leave mouths open with his Sotheby's auction sales.

The blunt, chain-smoking ex-miner had this to say about it all.

Today is my birthday.

On the road this week for a visit to Nebraska (don't ask). I will be back on Friday in time for the Bethesda Art Walk and the opening of GMU Professor Chawky Frenn at our Bethesda gallery.

Chawky Frenn is easily one of the most controversial artists in our area. Some of you may recall the noise and complaints that his recent show at Dartmouth University caused, where Frenn out-controversied Damien Hirst, who was also showing at the University at the same time.

A month ago or so, I juried a show from slides for Gallery International in Baltimore.

Last Friday I went to the opening and selected the prize winners. The Best in Show was won by area artist Paul Ellis, while the two awards of excellence went to Spanish-born New York photographer Yolanda del Amo for two-dimensional work and to Andrey Tsers for three-dimensional.

Yesterday the Baltimore Sun's art critic Glenn McNatt had a review of the show. McNatt writes:

"A touch of whimsy

The title of the exhibition at Gallery International, All Media Competition and Show, sounds a bit grandiose, but actually it's as apt as any for this sparkling group show, which brings together 48 artists from far and wide chosen by guest curator F. Lennox Campello.

Campello, a co-owner of the Fraser Gallery in Washington, selected the works on view from the more than 200 entries submitted, and he readily concedes that he followed no formula or format other than his own whimsy in making his choices.

The results, however, are as delightful as they are occasionally surprising. And, true to its title, the show's offerings are divided almost equally among paintings, sculpture, photography and mixed-media works.

There are also quite a few Duchamp-inspired artworks of the buzzing, whirling, mechanical variety, including Wade Kramm's ingenious Candle flipbook, an electric-powered contraption that mimics the flickering motion of an animated cartoon, and Adam Bradley's Dandelion, a weirdly alluring wind-up diorama depicting the soul's reluctant fall from grace.

One of the most polished works in the show is New York-based photographer Yolanda Del Amo's Domestica, a large-scale color photograph mounted on Plexiglas and aluminum that recalls the staged but unforced naturalism of Tina Barney's upper-middle-class domestic dramas. The Spanish-born Del Amo, whose photographs convey a compelling but stubbornly ambiguous narrative thrust, is on the evidence of this work clearly an artist to watch.

The show runs through Sept. 24. The gallery is at 523 N. Charles St. Hours are noon to 4 p.m. Tuesday-Saturday. Call 410-230-0561."

Like any juried competition, this was a difficult one to jury, and I struggled for what seemed hours with the Best in Show decision. It could have easily gone to Yolanda del Amo (a RISD graduate), whose photograph is as compelling and sublty seductive as McNatt describes. Her winning entry (Domestica) is pictured above to the left, and it is from a series called "Maids" photographed in Argentina by del Amo. According to one of del Amo's friends who was at the opening (the photographer was not present at the opening), del Amo has been stirring quite a bit of interest in her neck of the woods in N'Yak and could be a photographer to keep an eye on (pun intended).

A while back, the former Art Editor for the British newspaper The Guardian discussed 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 sub-editors!

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 Washington Post, which has a daily (and shrinking) circulation of around 600,000 printed papers, and gets around two million hits a day for its great website, and owns several other newspapers, is probably about twice the size of the Guardian newspapers combined.

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

The call to artists by Art.com will soon be out for artists wishing to be curated into the "Homage to Frida Kahlo" exhibition being hosted by them. There will be a substantial cash award and there is no entry fee.

I have been chosen to curate this exhibit due to my well-known interest in all things Kahlo.

It started in 1975, when I visited Mexico City and discovered the works of Mexican painter Frida Kahlo. Almost immediately, I developed an artistic obsession with Kahlo's image and I have created hundreds of works on that subject, including dozens of art school assignments at the University of Washington School of Art (1977-1981).

In 1975 my parents took their first vacation ever, at least in my memory. As Cuban exiles, the American tradition of yearly vacations was as removed from their routine as the Cuban tradition of Noche Buena is from American Christmas holiday customs.

Anyway, they decided to go to Mexico City for a week with another couple from New York, which is where my folks had been living since leaving Cuba as political refugees in the 60s.

In 1975 I was finishing my first year in the US Navy, where I had enlisted right after High School, and stationed aboard USS Saratoga, homeported in Mayport, Florida. I had turned down a New York State Regents Scholarship and a Boston University art scholarship to satisfy my desire to see the world before I went to college.

Mexico City and its nightlife and food (and how far a dollar went) made such an impression upon my parents and their friends, that the one-week trip became two, and eventually they spent nearly a month in that huge, dirty city, enjoying the food, scenery, clubs and markets. They also asked me if I'd like to join them for a few days, and since they were paying for it, I took a few days leave and flew to Mexico City for about five days of my own, unexpected vacation.

I hardly spent any time with them.

As a teenager, my interests were more focused on girls, cheap booze and plenty of great things to do. It was while visiting a museum during the last few days of my visit, at the insistence of a cute American Jewish tourist girl whom I had picked up at my parents' hotel, that I accidentally discovered Frida Kahlo.

I remember walking into the museum salon where the Two Fridas hung. It was love, or more like witchcraft, at first sight. This large, spectacular painting swallowed my visual senses and attention as no work of art would do again until I first saw Velasquez's Las Meninas at the Prado in Madrid eight years later.

At that first exposure, and the ones that followed as I tried to absorb as much of Frida Kahlo as I could in my remaining Mexico City days, I became an addict for the work and imagery of this Champagne Communist Mexican virago. I recall sitting down in the room where the Two Fridas was hung, and copying the painting through a pencil sketch done on gift wrapping vellum paper from an earlier touristy purchase of a huge, saucepan sized solid silver belt buckle and brown cowboy etched leather belt that I wore for years after and that thankfully has now been lost.

Kahlo left me gasping for knowledge about her and her work. Her imagery was like nothing I had seen before, even in my childhood's New York atmosphere that often included day-long trips to the Brooklyn Museum, the Met, MOMA and many other New York museums. The more of her work that I discovered, the more I became obsessed with learning about her.

In 1975 and the first few years that followed, this wasn't exactly an easy task. In those years Kahlo, at least in Mexico, was still Diego Rivera's wife, who also happened to paint.

In 1997, together with the Mexican Cultural Institute in Washington, DC I curated a small exhibition at the Fraser Gallery focused on an attempt to bring to Washington contemporary artwork that paid homage to Kahlo. It rapidly became one of the best-attended, most visited exhibitions ever held by the gallery and showed the giant strides in recognition that Kahlo and her art had made since that day in Mexico City when I first discovered her.

The Seven Fridas (Pen and Ink, circa 1981)

Collection of Seeds of Peace
The love affair then produced in 2002 a show of my own work titled "Passion for Frida: 27 Years of Frida Kahlo Artwork." It chronicled 27 years of preparatory drawings, etchings, oil paintings, watercolors and sculptures about Kahlo. It received good critical attention in the Washington City Paper and the Washington Times. It consisted of work that I had done as early as 1975 and as recently as a week before the show opened. In the wake of Julie Taymor’s beautiful movie "Frida," it was also a spectacular success.

And now I am honored to juror a worldwide call to artists who share my passion for Frida, for her life, for her artwork and for her influence. This call for art will deliver a new Homage to Frida Kahlo and all things Kahlo. I’d like to see work that delivers new portraits of Kahlo, or work that has been influenced by Kahlo, or by her life or her work.

In the end, I hope to put together a virtual exhibition that will leave a memorable footprint of the tremendous influence that this iconic daughter of Mexico left on all of us.

As soon as the official call is ready to be announced, I will post it here.

For Women Photographers

The next Secondsight meeting will be held on Thursday, September 23 at 6.30pm in Bethesda, MD. The guest speaker will be Amy Lamb, a very successful fine arts photographer and highly respected scientist. For more information, visit www.secondsightdc.com or call Catriona Fraser at (301) 718-9651. Meetings are free for members - $10 for guests.

Secondsight is an organization dedicated to the advancement of women photographers through support, communication and sharing of ideas and opportunities. Secondsight is committed to supporting photographers at every stage of their careers, from students to professionals. Each bi-monthly meeting includes an introductory session, a guest speaker, portfolio sharing and discussion groups. Each photographer will have the opportunity to present their work within a small group of other photographers, ask for constructive criticism, gain knowledge or simply share their artistic vision and techniques.