WOMEN
ARTISTS OF THE DMV
Describe the organizing principle(s) of the exhibition.
The “elevator pitch” or how I would describe the project in
30 seconds.
· Me talking: This exhibition will be the first ever survey of
female visual artists from the DMV (“local” acronym for District, Maryland and
Virginia – or the Greater Washington, DC Capital region) ever done – it will be
staged in six seven eight nine major art spaces in 2025 in each state area bordering the District: they are the American University Museum at the Katzen Arts Center at American University
in DC, The Athenaeum in Alexandria, and The McLean Project for the Arts, both in Virginia; and Artists & Makers Galleries and the Galleries at Strathmore Mansion, both in
Rockville, Maryland, Pyramid Atlantic Art Center in Hyattsville, MD, The Writer's Center in Bethesda, MD, and the Montpelier Arts Center in Laurel, MD and Maryland Hall in Annapolis!
Project genesis, its development and its relevance today.
The Greater Washington, D.C., capital region (the DMV) is
not only home to some of the best art museums in the world, dozens of
commercial art galleries, non-profit art spaces, alternative art venues, and
art organizations, but it also supports and fertilizes some of the best and most
creative visual art scenes in the nation.
Celebrating this art scene, which spreads across the three
areas that make up the DMV, local DC area curator, artist, and arts activist
Florencio Lennox Campello (that's me again in fancy words) proposed in 2023 to curate an exhibition of 100-150
works by 100-150 women artists comprised of both leading and established female
artists plus talented emerging contemporary female visual artists who represent
the tens of thousands of women artists working in this culturally and
ethnically diverse region in order to assemble a group show to showcase the
immense power of the visual arts being created by these artists.
In late 2024, led by the American University Museum at the Katzen Arts Center in DC, and as part of the generous Alper Initiative, five other DMV art venues agreed to co-stage the show, which will run the six nine separate art spaces starting in September 2025 for 6-12 weeks.
Three days after its announcement, over 1,000 entries came
in (and are still coming), delivering empirical proof of the depth, diversity, and range of the of the exhibitions. As the date of this post, nearly
3,000 entries have been received.
In an effort to be more inclusive, the mechanics of the
exhibition were revised to be able to archive and exhibit in some manner or
form all the artists. This will be accomplished as follows:
- All artists will be documented for the
Smithsonian Art Archives as follows: A flash drive which would contain a PowerPoint
presentation documenting all 3,000+ female artists who (so far) submitted art for
consideration, and one image per artist.
Additionally, in view of how fast technology ages, the documentation
will also include a digital screen device (a digital frame) to “play” the PowerPoint
presentation as needed in the future.
- The referenced PowerPoint presentation will be
projected onto the walls of the Katzen Museum at American University during the
duration of the exhibition (September through October 2025).
About the participating artists.
At this point, we have over 200 250 300 female artists selected
for the six, seven eight nine venue exhibitions, which will include 2D, 3D, video, and
performance art. Others may be selected on an ongoing basis, after studio
visits, artwork review, etc. As of the date of this post, review is still ongoing - if you are a female artist from the DMV and wish to be reviewed, simply send an email with your website and/or Instagram feed to lenny@lennycampello.com - All reviews will end April 30, 2025.
How to enter or be reviewed
Simply send an email with your website and/or Instagram feed to lenny@lennycampello.com by April 30, 2025.
How were they selected, by whom, why, what work will they
be showing?
Who: The artists are being selected by Florencio
Lennox Campello, a well-known and respected DC area artist, curator, writer, and
artist (that's me again). A DC area resident since the late 80s, Mr. Campello was once described
by the Washington City Paper as “one of the most interesting people of
Washington, DC.” In 2011 he authored
“100 Artists of Washington, D.C.” (Schiffer Publishing, Atglen, PA), and
his art blog, Daily Campello Art News is ranked among the top 15 art blogs in
the world and has received over seven million visits over the last 20 years.
Deadline: April 30, 2025
Why me? Few people know the DC area art scene like
Campello. Over the last few decades, he has curated or organized over 200
visual art shows. Furthermore, he has ample experience organizing and curating
shows of this large scale.
He has the proven background and experience to curate large,
multi-space art survey exhibitions. In 2007 he curated “Seven”, a seven-gallery
exhibition across various spaces in Washington DC that surveyed the thousands
of artist members of the Washington Project for the Arts (WPA)/Corcoran. Over
6500 slides (remember slides?) were reviewed by Campello and a nearly a hundred
artists selected for the multi-gallery show, which received multiple reviews in
the press, both local and national.
Earlier, in 2001 Campello curated “Contemporary Realism: A Survey of
Washington Area Realists” for the Athenaeum in Alexandria – another show
that exhibited over 60 artists and received wide reviews in the regional and
national press.
Furthermore, as he has previously done with great success,
Campello has engaged a variety of Greater DC area visual arts curators,
gallerists and collectors to “crowd source” portions of the exhibitions; each
person will nominate anonymously up to 10 artists for consideration to be
included in the show.
Why this show? To survey the key, established female artists of the
Greater Washington, DC region, mid-career artists, and just as important,
identify the emerging female artists who can benefit from this exposure. Additionally, as done in previous curated
shows, Campello has approached and received the commitment of several Greater
DC area gallerists, museum curators, and collectors to attend several guided
tours of the exhibitions. The goal here
is to force the exposure of these artists to some of the key members of the city’s visual arts tapestry. This is a proven process for success; for the
previous “Seven” multi-gallery show, 28 of the artists were offered
representation and/or solo gallery shows as a result of the exposure in the
exhibition.
What work will they be showing?
All genres of the visual arts will be considered, to include
public art. Each artist will have one work selected by the curator. Repeat: Each artist will have one work. Each artist will be assigned one of the six venues to exhibit their selected work. It is the responsibility of the artist to prepare the work, deliver it to the assigned venue by the assigned date (to be announced later this year), and fill out the specific venue forms to document the work. It is also the artist's responsiblity to pick up the work after the exhibition at the venue.
Can work be sold?
Work can be for sale at all venues EXCEPT the Katzen Museum at AU. Each venue has a site specific agreement with commission details, etc.
Presentation standards
All selected work must be presented to full professional gallery/museum standards: Unless otherwise designed to hang (such as textiles), 2D work (drawings, watercolors, photographs) must be framed and if needed under glass/plexi. Work on canvas can be "gallery dressed" at the edges. Frames cannot be scratched or otherwise not presentable for a professional exhibition. Most venues require the use of hanging wire (not stiff ordinary wire) and do not allow sawtooth hangers. No acidic mats, saw tooth hangers or acidic backing on framed work will be accepted for exhibition. Address any and all presentation standards questions to lenny@lennycampello.com
Artwork Delivery & Pick Up
Artists selected to exhibit are responsible for both delivery of art to the assigned venue and for pick up after the exhibition closes. Each venue has its own assigned date(s) and exhibition agreements/contracts which exhibiting artists will sign when art is delivered. Note that most venues can have the art for sale and if sold will have a commission. Also please let it be clear that the exhibition portions of this survey show is between the artist and the exhibiting venue and not the curator.
How will participation in this show help to further their
career and/or creative practice?
Exposure – As noted earlier, the curator will coordinate
both group and individual walk-throughs of the exhibition with key DC area
curators, collectors, gallerists, etc. This is a proven tactic to get artists,
especially emerging artists, noticed.
Expanding the footprint - So far, the curator has secured
intentions to cover the exhibition by multiple DC area news organizations such
as The Washington Post, NPR, two local radio stations, and one local TV
station. More are being cultivated at all times.
Boot camp for artists – As part of the process,
participating artists will be invited to participate in the curator’s “Boot
Camp for Artists” seminar, a 4-hour free seminar which over the last 30 years
has been presented to over 6000 artists and arts professionals. The seminar is
designed to deliver information, data and proven tactics to allow artists to
develop and sustain a career in the fine arts.
1. Materials - Buying materials;
strategies for lowering your costs, where and how to get it, etc.
2. Presentation – How to
properly present your artwork including Conservation issues, Archival Matting
and Framing, Longevity of materials, a discussion on Limited editions, signing
and numbering, Prints vs. Reproduction, discussion on Iris Prints (Pros and
Cons).
3. Creating a resume - Strategy
for building your art resume, including how to write one, what should be in it,
presentation, etc.
4. Juried Shows – An Insider's
view and strategy to get in the competitions.
5. How to take images of your artwork
6. Selling your art – A variety
of avenues to actually selling your artwork, including art fairs, outdoor fine arts festivals,
corporate acquisitions, galleries, public arts, etc.
7. Creating a Body of Works
8. How to write a news release
9. Publicity – How to get in
newspapers, magazines, etc. Plus, handouts on email and addresses of newspaper
critics, writers, etc.
10. Galleries – Discussion on
area galleries including Vanity Galleries, Co-Operatives, Commercial Galleries,
Non-profit Art spaces, etc.
11. How to approach a gallery –
Realities of the business, Contracts, Gallery/Artist Relationship, Agents.
12. Outdoor Art Festivals –
Discussion and advice on how to sell outwork at fine arts festivals, which to
do, which to avoid, etc.
13. Resources - Display systems
and tents, best juried shows and ones to avoid.
14. Accepting Credit cards – How
to set up your art business.
15. Grants – Discussion on how
to get grants in DC, Regional and National, including handouts on who and where
and when.
16. Alternative Marketing -
Cable TV, Local media
17. Internet – How to build your
website at no cost, how to establish a wide and diverse Internet presence.
18. Art fairs - A strategy on how to participate in gallery art fairs
Information as about the catalogue and book.
American University will publish a catalogue about the
artists selected to exhibit at the Katzen Museum. Each artist whose work is
exhibited at the Katzen will have an individual essay written about their work
and a large image of their selected work.
Additionally, the curator is currently negotiating with
Schiffer Publishing for the publication of a hard cover art book to include 100
of the selected artists in the large format book. Each
artist will have an individual essay written about their work and a large image
of their selected work.
Update: Schiffer Publishing has decided not to go forward with the book proposal.
Here’s a sample chapter:
In 2022 was my distinct and unique honor to
serve as the 2022 Paint the Town juror for the Montgomery Art Association,
which together with the town of Kensington, Maryland stages an annual visual
art exhibition and competition in the city’s ample Town Hall and on the streets
of beautiful Kensington, just outside of the District of
Columbia.
As all great
shows are, this was an immeasurably difficult show to judge, which is a good
thing! The quality of entries was uniformly superior in almost every category,
and the difference between first, second, third, and even some honorable
mentions was minimal.
It was at this
show that I was first astounded by the paintings of Dora Patin, who ended up
winning “Best in Show.
I do not throw around the word “astounded” easily. Over the last four decades I’ve seen the work of
hundreds if not thousands of artists who just started painting a few years ago,
and already deliver immensely intelligent work.
Patin smokes
them all – in fact, I think that Patin is a painting prodigy. She has only been painting for a handful of
years, and yet her trompe l’oeil paintings are breathtaking in their ability to
fool the eye. Either Patin has painting
super powers or owns the most enviable painting learning skills on a planetary
level.
Over those same
decades I have seen many artists who, after decades and decades of practice,
failures and successes, have accomplished the spectacular technical painting
skills of this artist, but none, zero, not one, in such a short time after
first grabbing a painting brush and opening a paint tube.
And technical
painting skills alone do not make great art, and this is where Patin’s natural
skills assist her in also delivering intelligent compositions and works full of
psychological storylines – such as her series on some of the “key” hands of the
poker game, or “Alice.”
Breathtaking
technical skills in the hand of an intelligent artist are formidable art assets.Who is writing?
The curator, Florencio Lennox Campello is writing both the
Katzen Museum exhibition catalogue, and the Schiffer Publishing large format
art book.
What are the essay topics?
Each artist in both the Katzen catalogue and the book will
have an individual essay written about them and their work – here is another
example:
Lida Moser
Lida Moser remains the greatest
photographer whom I’ve ever met in person.
She was once
called the "grandmother of American street photography" by an art
critic, which prompted a quick rebuttal by Moser, who called the writer's
editor and told him that she wasn't the "effing grandmother of anything or
anyone, and would he [the writer] ever describe Ansel Adams or any other male
photographer as the 'grandfather' of any style’."
Moser was born
and lived most of her life in New York City, but a couple of decades ago moved
to our area and was immediately adopted by the DC area art scene.
Lida Moser's
photographic career started as a student and studio assistant in 1947 in
Berenice Abbott's studio in New York City, where she became an active member of
the New York Photo League. She then worked for Vogue, Harper's Bazaar, Look and
many other magazines throughout the next few decades, and traveled extensively
throughout the United States, Canada and Europe.
She also
authored and has been part of many books and publications on and about
photography. She also wrote a series of "Camera View" articles on
photography for The New York Times between 1974-81.
Her work has
been exhibited in many museums worldwide and is in the permanent collection of
the National Portrait Gallery, London, the National Archives, Ottawa, the
National Galleries of Scotland, National Portrait Gallery, Washington, DC, the
Library of Congress, Les Archives Nationales du Quebec, Corcoran Gallery,
Phillips Collection and many others. And one of her most iconic photos,
depicting of the window washers cleaning windows at the Exxon Building in NYC
was actually made into a 3D sculpture at Legoland (without Moser's permission)
in Florida.
She wielded her
camera like a weapon, and her photos are gritty, full of life, city narratives,
police sirens, and stories of all kinds and flavors – like Lida.
Will the catalogue document or expand upon the
exhibition’s premise?
Both the catalogue and book will both document and expand
upon the exhibition’s premise. Both of them will be archived by the Smithsonian Institution.
Specific opportunit(ies) for the artists:
residencies/performances/public programs.
- For many of these artists, this may be their
first-ever exhibition in a museum as well as their first cataloguing in a book
or museum catalogue.
- For nearly all of these artists, this will be
their first exposure in a major national review outlet such as The Washington
Post, NPR, etc.
- As the curator has many inside connections with
DC area galleries, this will also present these artists with their first ever
opportunity to be exposed to a curator, to a collector and to a gallerist.
- Most of these artists will also (for the first
time) be exposed to Art Bank – this is the DC Commission on the Arts &
Humanities Commission process to acquire art for the city’s collection;
coordination with the DC Commission on the Arts & Humanities Commission is
ongoing to secure a commitment from the commission to review the shows with the
goal of acquiring some of the work for the City’s collection.
- The curator is also coordinating with the
National Museum of Women in the Arts to conduct a curator visit to the four
venues, and select at least one work for acquisition and addition to the
permanent collection of the museum. Similar seminal coordination is ongoing
with several local universities, with the goal being for them to acquire a work
from an exhibiting alumni artist for the permanent collection of the
university.
- All artists will be invited to attend the “BootCamp for Artists” seminar, to be staged at American University, at no cost to
the artists.
