Kathryn Cornelius hits the nail right on the head with this smart and eloquent discussion on "artspeak." Read it here.

Success as an Artist Seminar

Almost as soon as we opened our first gallery in Georgetown in 1996, artists began pouring in seeking representation. This continues to this day, and between visits, emails, packages in the mail, etc. we generally receive around 600 inquiries a year.

Because we obviously cannot represent or sell the work of such a huge number of artists, a lot of good, talented artists are turned away, after we have recommended follow on steps on what to do. However, in our first few months, Catriona soon discovered that she was spending most of her of time with emerging artists discussing many of the same things over and over, which generally consisted of giving out career advice about such things as gallery representation, contracts, grants, competitions, resumes, etc.

This was not only time consuming with scheduled appointments, but many unscheduled visits caused her to spend several hours a day just meeting with artists and essentially passing out the same information, over and over.

Then her mother came out with a brilliant idea: Why not come up with a structured, formal seminar for emerging artists to pass out this information as well as other important information. Not theory, not review of artwork, but practical advice, usable handouts and a forum to answer questions all at once.

We held our first seminar in 1999 – it was supposed to run for four hours but it ran for seven. So eventually we changed it to a full day, seven hour seminar, and have now presented it to nearly 1,000 artists and art administrators from nearly every Mid Atlantic states – with attendees coming from as far south as South Carolina.

It has been spectacularly successful in offering practical business advice to the emerging artist on many areas not covered by any art school curriculum that we know of. The information, advice and details taught at the seminar are not based on theory, but on actual practical experience and hands-on effects. That’s why it has been so successful!

In its seven hour format, the seminar covers a wide range of structured issues including:

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 slides and photographs of your artwork

6. Selling your art – A variety of avenues to actually selling your artwork, including 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.

The seminar has been a spectacular success, and the feedback from artists can be read online at here and we continue to receive tremendous positive feedback on the practical success that this seminar has meant for those who have taken it.

The seminar lasts for seven hours and is now offered twice a year. It costs $75 and the next one is scheduled for February 29, from noon to 7 PM at our Bethesda gallery. It is restricted to 50 participants and interested artists can read more details or print a registration form online at www.thefrasergallery.com/seminars.html or just call Catriona at 301/718-9651. The seminar is held at the Fraser Gallery of Bethesda, located at 7700 Wisconsin Avenue, Suite E, in Bethesda. The gallery is one block from the Bethesda Metro stop on the Red Line. Ample free parking is also available

If anyone is attending the International Art Expo in New York, email me and I'll hook you up with some free passes.

For Printmakers:
Deadline: Apr 09, 2004
NATIONAL JURIED PRINT EXHIBITION at Lancaster Museum of Art. $2000 in awards. For a prospectus send an SASE to:
Lancaster Museum of Art
135 N Lime St
Lancaster PA 17602
Or call 717-394-3497 or email lmart@mindspring.com.

This year, The Art League is commemorating a 50-year legacy of supporting the arts and nurturing artists in the Washington, D.C. metropolitan area. The Art League, with its prestigious gallery and school, is the fruit of the work of thousands of artists and art patrons from the Washington, D.C., Maryland, and Virginia area.

They currently have the Patron's Show on exhibit, one of their major fundraisers, where 600 area artists donate a work of art and historically all 600 are snapped by collectors through a raffle process. Through February 15. Following that, they will have (from February 19-23) their biennial Ikebana show, where designers of the Sogetsu school of Ikebana will create graceful Japanese flower designs in pottery handcrafted by Torpedo Factory artists. This show also features an Ikebana Arranging Demonstration and a Japanese Tea Ceremony.

Today is the first Friday of the month, so the Dupont Circle galleries will host their openings and late hours. See you there from 6-8 PM.

Local photographer in next Christie's Photography Auction:

Several vintage photographs by legendary photographer Lida Moser,
represented by us, will be offered at the next Christie's New York auction on Feb. 17, 2004.

In 2002, Moser's photos sold as high as $4,000 at Christie's.

Lida Moser, who currently lives in Rockville, Maryland and is in her late 80s, has a distinguised career that started as a student in 1947 in Berenice Abbott's studio. She then worked for Vogue, Harper's Bazaar, Look and many other magazines. She has also authored and been part of many books and publications on and about photography in the New York Times, New York Sunday Times, Amphoto Guide to Special Effects, Fun in Photography, Career Photography, Women See Men, Women of Vision, This Was the Photo League, and others. She also wrote a series of "Camera View" articles on photography for The New York Times between 1974-81.

In 1950 Vogue (and subsequently Look) assigned Lida Moser to carry out an illustrated report on Canada, from one ocean to another. When she arrived at the Windsor station in Montreal, in June of that same year, she met by chance, Paul Gouin, then a Cultural Advisor to the Duplessis government. This chance meeting leads the young woman to change her all-Canada assignment for one centered around Quebec.

Armed with her camera and guided by the research done by the Abbot Felix-Antoine Savard, the folklorist Luc Lacourcière and accompanied by Paul Gouin, Lida Moser then discovers and photographs a traditional Quebec, which was still little touched by modern civilization and the coming urbanization of the region.

A portrait of Lida Moser, by Alice Neel, currently hangs in the permanent collection of the Metropolitan Museum of Art in New York City. Several portraits of Alice Neel by Lida Moser are in the permanent collection of the National Portrait Gallery in Washington, DC.

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 Portait Gallery, Washington, DC, the Library of Congress, Les Archives Nationales du Quebec, and many others. Moser was a member of the Photo League and the New York School.

The Photo League was the seminal birth of American documentary photography. It was a group that was at times school, an association, and even a social photography club. Founded in 1936 and disbanded in 1951, the Photo League promoted photojournalism with an aesthetic consciousness and a social conscience that reaches photojournalism and street photography to this day.

Works by Moser can be seen online here. Buy Lida Moser now.

Jessica Dawson reviews Rembrandt etchings on display at St. John's College in Annapolis in her "Galleries" column in the Post today.

And in a rare two-visual-arts-day at the Post, Linton Weeks has a very large review of Winston Churchill photographs at the Library of Congress. Weeks (as far as I know) is not an "art critic" but he does a readable job in mostly describing the exhibition and give us a bit of historical background, which is what most hi-fallutin' art critics would have done anyway.

Woudn't it be nice to see (more often) a couple of different journalists write about the visual arts on the Post's "Galleries" day? All the time...

Of course, today "the galleries" were ignored, as Jessica went out-of-town and Weeks reviewed a museum show.

Maybe next week...

Right...

Grants for artists...
Once of the institutions created after Andy Warhol's undexpected death was Creative Capital.

Each year the award a lot of grants and this year the foundation will award up to 40 grants in the fields of visual arts and film/video. In the spring of 2004, Creative Capital Foundation will accept proposals for its 2004-05 grant cycle supporting work in the visual arts and film/video. Grants for performing arts and emerging fields will be available in 2005.

They have implemented a new application process: to apply for a grant, artists must first submit an Inquiry Form, which will be available February 16, 2004 on the foundation's website . The deadline for completed Inquiry Forms is March 15, 2004; those invited to apply will be notified in June 2004. As in past grant rounds, funded projects will receive approximately $400,000 in initial grants, ranging from $5,000 to $20,000. In addition, grantees are eligible for follow-up support totaling $900,000 to $1 million in the form of advisory services and additional financial assistance.

Address: Creative Capital Foundation, 65 Bleecker St 7th Fl, New York, NY 10012. E-mail: info@creative-capital.org. Tel: 212.598.9900 Fax: 212.598.4934

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DC Commissions on the Arts and Humanities: Small Projects Program.
Deadline: March 4, 04.
The Small Projects Program (SPP) offers grants up to $1,000 to District of Columbia individual artists and arts organizations. The program seeks to make grant funds more accessible for small-scale arts projects. Projects may include but are not limited to: Art presentations, Assistance in fundraising, marketing, and management, Documentation of artistic activities through photography, brochures, portfolios, and demo tapes, Conferences, workshops, or seminars that will enhance artistic and professional development.

Upcoming deadlines for Small Projects Program applications is Thursday, March 4, 2004, 6:00 pm. Workshops to help artists fill out applications will be held on the following dates: Thursday, February 26, 2004, 12:00 - 1:00 pm.

The SPP workshop will be held at the Commission's office at 410 8th St., NW, Fifth Floor, Washington, DC 20004. Download the FY2003 Small Projects Program Guidelines and Application here. For more information on the Small Projects Program or to receive an application in the mail, please call Lionell Thomas at (202) 724-5613.

Cuban art and artists are superhot right now, and we'll have an avalanche of Cuban shows this year in DC. More on that later...

How to make them even hotter?

Answer: Eliminate or reduce access to their artwork.

Read the Art & Antiques magazine article "Crackdown ends U.S. Collecting Trips to Cuba."

Opportunities for artists:

Deadline: February 15, 2004
CURRENT WORK 2004: A NATIONAL COMPETITION. Open to all artists 18 and over. 2- Dimensional media only. Exhibition dates: March 19 - April, 2004, $25 entry fee for three slides, $1,200 in awards. Deadline for slides is February 15. To receive a prospectus, send a SASE to:
Rosenthal Gallery
Fayetteville State University
Fayetteville NC 28301.

Or visit the website to enter online or to review the prospectus or email smartin@uncfsu.edu

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Deadline: February 20, 2004
The Tulane Review is looking for submissions of artwork in any medium for the Spring 2004 issue. Slides, please label orientation, or CDs of work should be mailed to:

Tulane Review
Department of Art
Tulane University
New Orleans, LA 70118.

Enclose a SASE for return of submissions. Please include a cover letter with media, dimensions, and titles of pieces, as well as a bio. The submission fee is $15 per 4 pieces and $2 each additional. A $100 prize to be awarded to the single best piece selected by qualified judge. Direct any questions to mroche@tulane.edu, or call (318)572-4374.

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Deadline: February 21, 2004
National Juried Small Works Exhibition at Red Dot Fine Art. The gallery is located on historic Canyon Road in Santa Fe, NM and is one of the cities' 250 galleries. Open to all individuals with two dimensional paintings in any medium and style with a size not to exceed 16" x 16". EXHIBITION DATES: April 1st to April 25th 2004. FEE: $30 for 1-3 images (slides or JPEG 300 dpi) $5 for each additional image submitted. FOR APPLICATION: Visit their website or contact smallworks@reddotfineart.com or send SASE to:
Red Dot Fine Art
Att: Small Works
8 Tapia Entrada
Santa Fe NM 87508

I'm quoted in the current issue of Art & Antiques Magazine on a piece focused on Cuban art.

"Give a man a fish and he will eat for a day. Teach him how to fish, and he will sit in a boat and drink beer all day."
- George Carlin (1937 - )

Last night I had the honor and pleasure of being the guest juror at Multiple Exposures Gallery (formerly Factory Photoworks), where I juried a group show from the gallery's 14 members.

Multiple Exposures Gallery is one of the best examples around our area of what a dedicated and accomplished group of artists can do together. Running a cooperative artists' gallery is a difficult science at best, as doing anything by a committee of 14 is by human nature difficult. And yet, year after year this gallery manages to deliver superb photography, and as I have said many times in the past, continues to be one of the key photography galleries in our area.

The jurying process, as always, was difficult, and several pieces were rejected not because they were bad, but because the space also drives how one curates a show. In the end, I selected about two dozen photographs, nearly all black and white (my own prejudice) except for a couple of exceptional color photos by Barbara Southworth and Fran Livaditis. I've been watching Southworth's beautiful panoramic landscapes for a while now, where she fools you into being absorbed by the beauty of the landscape in her images, before one realizes that it is the exceptional, almost magical manipulation of light that really is the magnet in her imagery.

I also selected three pieces by Jim Steele; all exceptional nude studies by one of our area's top figurative photographers. I also included work by Danny Conant and Grace Taylor - both from their extensive travels to Tibet (Conant has recently published a book on the subject - see it here. And there are also some exceptional Cuban portraits by Karen Keating's continuing visits to the island prison.

The exhibition will hang until March 2, 2004.

Somebody in museum-land is screwing around.

After Darin Boville read my posting about DC museum shows, he jumps and points out that "just for fun, the Air and Space Museum (one of the top attractions in the world) gets (they claim) nine and a half million visitors per year--that's over 26,000 people per day!"

Actually, Darin is slightly off.... they claim eleven million visitors a year in 2003!

Is that a fib or is the Air and Space Museum kicking the crap out of the other art museums on the Mall (and the world)? And if they are right, where else are those 11 million visitors "visiting" while they're on the Mall?

Rub it in: "The staggering number of visitors to the National Air and Space Museum is expected to increase by another 3 million starting in December, when the museum’s companion facility at Washington Dulles International Airport opens." Read it here.

Great catch Darin!

Here's a very interesting eye opener...

Here is the list of the visitor numbers for museum shows around the world. It is compiled annually by The Art Newspaper.

What is interesting to me about this list, is the fact that the highest attended show in Washington, DC (highest as defined by average daily attendance, as some shows run longer than others, and thus total attendance is different) was the spectacular retrospective at the Hirshhorn of German painter Gerhardt Richter! (read my review of it here). It averaged around 2,000 visitors a day.

Here are the only Washington, DC museum shows to make the 2004 list:

Gerhardt Richter at Hirshhorn - 158,625 visitors (1,958 daily)
Jean-Antoine Houdon at National Gallery - 243,059 (1,914 daily)
Jacob Kainen's Collection/Trompe l'Oeil at National Gallery - 231,905 (1,645 daily)
Edouard Vuillard at National Gallery - 142, 191 (1,546 daily)
Frederick Remington at National Gallery - 124,145 (1,349 daily)

And lest we forget, all of these museums are free, and also the figures are generally moved one way or the other by the tourist tides to our city, which also influences most major cities around the world, except that our museums are free, and thus (I think) more likely to attract a family of tourists.

It also seems to me that the list is somewhat screwed up, as they list Jacob Kainen's An Artist's Artists: Jacob Kainen's Collection from Rembrandt to David Smith which ran at the NGA from 22 September 2002-9 February 2003 together with the Deceptions and Illusions: Five Centuries of Trompe l'Oeil Painting which ran from 13 October 2002-2 March 2003.

At the top of the list was Leonardo's show at the Met in New York, which drew 6,863 visitors a day and a total of 401,004. Not a single show from the Tate Gallery in London made the 2003 list (their Matisse/Picasso show was one of the top ten in the world in 2002) and Matthew Barney's super hyped Guggenheim mess, although it made the list, got beaten by much less publicized events such as a show of Latin American artists at the Walker Art Center in Minneapolis.

A Minneapolis group show beats Barney's hype machine!

Goes to show you that all the hype and money in the world, although it can certainly go a long way to get you there, it still can't guarantee top success - at least as defined by public attendance, and I bet that the Walker Art Center (which had several shows in the list) spent a tiny percentage of what the Guggenheim did in producing and setting up their show.

Scottish artist Douglas Gordon, winner of the 1996 Turner Prize, and prizewinner at the 1997 Venice Biennale comes to Washington when his first American retrospective makes a stop at the Smithsonian's Hirshhorn Museum and Sculpture Garden beginning Feb. 12, 2004 and continuing through May 9, 2004.

The Hirshhorn is the final venue for this internationally-touring exhibition organized by LA's Museum of Contemporary Art.

Here's a review of the LA show which gives us a preview of what's coming.

The exhibition will include large-scale projected video installations, text pieces, still photographs and filmed images on video monitors created by the artist from 1993 to 2002. A highlight of the D.C. installation will be the artist's recent work "Play Dead: Real Time" (2002), which makes its U.S. museum debut at the Hirshhorn. A series of public programs will accompany the show, including "24 Hour Access: 24 Hour Psycho," Feb. 28 - Feb. 29. Inspired by Gordon's seminal video piece "24 Hour Psycho," this event will feature 24 consecutive hours of free access to the exhibition and conclude with a "Meet the Artist" interview conducted by Hirshhorn Director of Art and Programs and Chief Curator Kerry Brougher. I will review this show and give my thoughts on the exhibition, and the financial (for the artist and art dealers) relationship between video art (unsellable) and good old fashioned photography - of the video - which is very sellable!

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Transformer Gallery presents "Gleaming the Screen: An Exhibition of Silkscreen Poster Art" starting February 7 through March 6, 2004. Curated by guest curator, Nick Pimentel of Washington, DC’s Planaria Recordings, Gleaming the Screen is a group exhibition featuring work by over twenty of the U.S. and Canadian silkscreen poster artists. Opening reception for the artists: Saturday, February 7, 2004 7-9 pm.

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Conner Contemporary presents the first Washington, D.C. solo exhibition by Dean Kessmann, Coordinator of the George Washington University’s photography program. There will be a reception for the artist Thursday, February 19, 6-8 pm.

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We're lucky in Washington to have one of the true "power galleries" in the world when it comes to fine art glass. Maurine Littleton Gallery is celebrating 20 years of exhibiting Masters in Contemporary Glass with a series of three-artist exhibitions throughout the year. First they will exhibit new works in glass by well-known glass artists William Morris and Judith LaScola as well as new functional work in metal by Albert Paley. The show opens April 6th and continues through April 24th, 2004.

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And the Ralls Collection in Georgetown has the beautiful new work of photographer Michael Kenna on exhibit now until March 6, 2004.

The Bush administration's 2005 budget proposes to give the National Endowment for the Arts its largest budget increase (15%) in 20 years. Read it here. If approved by Congress, the endowment's fiscal 2005 budget would stand at $139.4 million, up from the $121 million it received this year. Last year the NEA approved 2,000 grants.

Newsweek photographer Luc Delahaye has declared publicly that he is no longer a photojournalist and is now an artist. Read the Guardian story here.

My vote for the best photojournalist in the world is our own Washington Post's Carol Guzy.

Deadline to submit applications: March 15, 2004
The National Endowment for the Arts announces funds for the promotion of various art projects, regardless of the size or type of applicant organization. Proposed programs should be of national, regional or field-wide significance; tour in several states; or provide an unusual or especially valuable contribution because of geographic location, including local projects that have significant effects within communities or that are likely to serve as models for a field.

Eligible applicants include State and local government entities, nonprofit organizations, community action agencies, and private institutions of higher education. The deadline to submit applications is March 15, 2004. Awards range from $5,000 to $150,000. For further information go to this website to determine your appropriate staff contact. Also see: www.fedgrants.gov.