Since 2003... the 11th highest ranked art blog on the planet! And with over SEVEN million visitors, F. Lennox Campello's art news, information, gallery openings, commentary, criticism, happenings, opportunities, and everything associated with the global visual arts scene with a special focus on the Greater Washington, DC area.
Reports from the Art Newspaper and the Wall Street Journal say Amazon is making plans to sell fine art online. The reports say the company is working with galleries around the U.S.—perhaps more than 100—to act as an online art market and collect a commission on the sales.Amazon tried this once before in 2001, but in partnership with Sotheby's. It was very successful, so much in fact that Sotheby's decided to go on their own, broke their contract with Amazon (and paid them a ton of money to do so) and was selling about a million dollars a day at one point.
In challenging the notion of the feminine archetype, artists embrace and reach beyond the boundaries of the female form to express the essence of a woman, figuratively, conceptually and metaphorically.
As Color, alluring imagery stretches the imagination and explores a woman’s sexual and intellectual power through aggressive gestures and symbolic references to the feminine life-giving force. As Light, provocative photographs portray a woman’s physical strength and ubiquitous presence in nature. As Form, moving two and three dimensional objects, emblematic of the ethereal qualities of a woman, reveal the complexities, convictions and intuitiveness of the feminine expressed as the divine; a ritualistic-based video serves as testimony to one woman’s personal journey of renewal, and others speak to healing, identity, memory and transformation in tableaus that embody a woman’s unbridled spirit.
"The work selected for this year's Juried Student Exhibition displays the progression of learning and skill-building that occurs at the Washington Studio School. The focus on drawing and understanding dynamic spatial relationships is evident in student's artwork of all skill levels.From figure drawing studies to sculpture, to drawings, paintings and collage that explore abstraction, to paintings in which one can detect a developing individual aesthetic and intuitive process, we can clearly see evidence of growth and the positive results of a highly focused and directed school environment. This exhibition is a showcase of some of the most dynamic student artwork as well as a wonderful insight into the Washington Studio School teaching approach."Milena Spasic, Juror
Details here.It took more than eight years for a CIA analyst and a California computer scientist to crack three of the four coded messages on the CIA’s famed Kryptos sculpture in the late ’90s.
Little did either of them know that a small group of cryptanalysts inside the NSA had beat them to it, and deciphered the same three sections of Kryptos years earlier — and they did it in less than a month, according to new documents obtained from the NSA.
Until August 11, the top floor of the American University Museum presents a 50-year retrospective of D.C. art between 1940 and 1989, and it feels much like a multifarious Washington Project for the Arts auction. On view are some muscular works by Jim Sanborn and Robin Rose, as well as a few old standards by Martin Puryear, Sam Gilliam, and Kenneth Noland. But, with more than 80 artists represented in the exhibit—most by a single piece—the show doesn't distill the working careers of the artists involved or offer a coherent sense of identity or movement happening in D.C. The only exception is the featured work from the late 1950s and early '60s, when seemingly every artist in Washington was under the spell of Abstract Expressionism and the so-called Washington Color School. After that, District art hopped all over the map.
Of course, this is an exhibit of some compromise, pulled together in limited time. American University Museum Director Jack Rasmussen, a consistent supporter of D.C. art, found a hole for an exhibit last year when he learned The Washington Arts Museum was publishing Washington Art Matters, a book on local art from 1940 to 1989. Earlier this year, the book's authors gave Rasmussen a list of artists to include in the show, and the museum got to work plucking the relevant art from private collections and three area museums in under 10 weeks (the museum already owned about a third of the work).
Washington Art Matters, written by Jean Lawlor Cohen, Sidney Lawrence, Elizabeth Tebow, and Benjamin Forgey, is, by the authors' own admission, "well intentioned." Unfortunately, it struggles with the same hurdles the exhibit does. This summary of 50 years of Washington art, condensed into 213 pages, often reads like a summary of a summary.Anytime that a "summary of 50 years of Washington art, condensed into 213 pages, often reads like a summary of a summary" is put into an art show, some art will be blurred.
But, with more than 80 artists represented in the exhibit—most by a single piece—the show doesn't distill the working careers of the artists involved or offer a coherent sense of identity or movement happening in D.C.I'm not sure that it is possible to distill an entire career in such a setting - even retrospectives struggle to show an artist's career if that artists has had a few decades of production. I am also always puzzled why in the visual arts, we're always looking for a sense of order or as he puts it coherence. It is impossible to ask a diverse group of contemporary artists, much less an entire city or region to all collapse into a identifiable and coherent sense of identity - I challenge anyone to show me such a phenomenom in the last 150 years. In fact, the last time that this happened was probably in the 1800s, but we're still using it as a litmus test somehow.
Of course, there's no question that D.C. has contributed to 20th century art in important ways, and nurtured significant artists, as it continues to do. But Washington Art Matters recycles old, whiny arguments to make that point, and the companion exhibit in the AU Museum was afforded too little time and not enough space to give D.C. art the exclamation point it too often seeks.Sounds like John is challenging American University Museum Director Jack Rasmussen to devote the entire Katzen to a Washington, DC show... cough, cough.
Washington Art Matters: The 1980sAnd a closing reception on August 10 at 5PM.
Saturday, July 20, 3 p.m.
American University Museum
Admission is free
Art Attack project artist Alberto Gaitán; curator-advocate Jim Mahoney; and on-the-scene writer Lee Fleming discuss the aesthetic and political issues of the 1980s. The panel is moderated by Sidney Lawrence, an emerging artist at the time and the Hirshhorn's PR person until 2003, who is one of the Washington Art Matters, Art Life in the Capital: 1940-1990's authors.
