Friday, January 25, 2008


I gave you an early heads up last year... for the whole background read this.

And now the official news release:
The Georgetown Business Improvement District (Georgetown BID), in partnership with Artomatic, Inc., the Office of the Secretary for the District of Columbia, and Sunderland City Council, is proud to present an international fine arts glass exhibit, entitled Glass3, hosted by The Shops at Georgetown Park (3222 M Street, NW).

Glass3, which opens to the public on Thursday, February 21, debuts as the first Artomatic international collaboration. Located on the lower level of the mall, the three-story space contributed by The Shops at Georgetown Park will soon present vibrant glass work, glass blown sculptures, as well as narrative glass work through etching, writing, and video projection.

Glass3 is the first international glass exhibit for Artomatic. The exhibition will feature international glass artists represented by Cohesion Artists from Sunderland, England, national artists organized by the Arts Commission of Greater Toledo from Toledo, Ohio, and Washington, D.C.-based artists represented by the Washington Glass School. Through invitation only, each arts organization selects the artists presented in the three-week long exhibit.

The show will be open through Sunday, March 9, and is free and open to the public. Gallery hours are Monday through Saturday, 12 p.m. to 8 p.m., and Sunday, 12 p.m. to 6 p.m.
This international show again underscores something that has been brewing and growing under the noses of DMV area museum curators and that has ironically been recognized first nationally and now internationally: the Greater DC area has become a hot spot (pun intended) for contemporary fine arts glass and is clearly leading the way in delivering a new conceptual, narrative and even technological boost to fine art glass.

You all know that I am not objective about this issue, but I wouldn't be surprised to see this seminal work with glass as the kernel for creativity become the basis for the most significant new art movement in the DC region since the halcyon days of the Washington Color School. I don't know who will be in this show from the UK and from Ohio, but I suspect that we may see a lot of really terrific vessels from those artists and perhaps then DC area eyes will see how different the work of our locals is when compared as to what the rest of the world is doing.

Call for Redemption by Tim Tate

Call for Redemption, c. 2007 Tim Tate
Blown glass, cast glass, video projection, speakers and motion sensors

Wanna tour the DC City Hall Art Collection?

At 12 p.m. on Thursday, January 30, the public is invited to the Wilson Building for a guided tour through the City Hall public collection of art on permanent display on floors 1-5 of the Wilson building. The tour will be lead by the talented Ellyn Weiss, whose work is included in the collection.

This is a unique chance to meet with local artists featured in the collection and have a discussion on being an artist in the Nation's capital and to see a rich cross section of local artists (both established and emerging). This will be a bi-monthly occurrence. This is the richest and largest permanent exhibition of the work of local DC area artists in the city, featuring a broad range of work, from internationally known artists such as Jacob Kainen, Sam Gilliam, Tim Tate and William Christenberry, to work by most of the artists of significance working in the capital region area now.

The tour is free; however space is limited. Please RSVP to with the number in your party. Meet at the Pennsylvania Avenue entrance — the building is located at 1350 Pennsylvania Ave NW. ID is required to enter the building.

Opportunity for Artists

Deadline: March 1, 2008

The Innovators Combatting Substance Abuse Program has a call out for artists for original art to appear in a forthcoming book on art and addiction to be published by Johns Hopkins University Press.

Open to all artists and all media, including video on the subject of drug addiction, including alcohol, and recovery. A panel of jurors (I'm one of them) will select finalists, and each finalist will receive a $200 honorarium, with the top five receiving an additional $500, copy of the book, and inclusion in exhibitions in Maryland and Puerto Rico.

No entry fees!

Download entry form here.

Philadelphia Biennaleing

"The Philadelphia Museum of Art is pleased to announce the selection of Bruce Nauman (b. 1941) as the artist to represent the United States at the 2009 Venice Biennale. The State Department’s Bureau of Educational and Cultural Affairs selected Nauman following the unanimous recommendation of the Federal Advisory Committee on International Exhibitions (FACIE) that reviewed proposals received through an open competition. Carlos Basualdo, Curator of Contemporary Art, and Michael Taylor, the Muriel and Philip Berman Curator of Modern Art, will serve as the U.S. Commissioners and will organize the exhibition from the Philadelphia Museum of Art."

Thursday, January 24, 2008

London Blues

In this cruise that I just came back from, we all had a lot of fun in one of the bars singing drunken karaoke songs (I know... I know...) and it reminded me of something from my past.

Sometime around 1988 or so, I lived in England for a few months, and back then a lot of the English pubs were really into karaoke. And even though I am not a Texan, one of my past roomates is from Texas and he used to play "London Blues" all the time and I used to really love to sing it in English pubs.

Scary uh? A guy from Brooklyn singing a Texas song...

Unfortunately the cruise ship didn't have it in its inventory, but upon getting back I got myself a couple of Jerry Jeff Walker CDs and it brought back memories of the song that I think may be the greatest Texas song of all time --- and yes, I know that I've just made a zillion Texans disagree with me... or maybe not.

Listen to Barry P. Nunn sing it here the way that it's supposed to come out... lyrics below.

Well, when you're down on your luck,
And you ain't got a buck,
In London you're a goner.
Even London Bridge has fallen down,
And moved to Arizona,
Now I know why.
And I'll substantiate the rumor that the English sense of humor
Is drier than than the Texas sand.
You can put up your dukes, and you can bet your boots
That I'm leavin' just as fast as I can.

I wanna go home with the armadillo
Good country music from Amarillo and Abilene
The friendliest people and the prettiest women you've ever

Well, it's cold over here, and I swear
I wish they'd turn the heat on.
And where in the world is that English girl
I promised I would meet on the third floor.
And of the whole damn lot, the only friend I've got
Is a smoke and a cheap guitar.
My mind keeps roamin', my heart keeps longin'
To be home in a Texas bar.

I wanna go home with the armadillo
Good country music from Amarillo and Abilene
The friendliest people and the prettiest women you've ever

Well, I decided that I'd get my cowboy hat
And go down to Marble Art Station.
'Cause when a Texan fancies, he'll take his chances.
Chances will be taken, that's for sure.
And them Limey eyes, they were eyein' the prize
That some people call manly footwear.
And they said you're from down South,
And when you open your mouth,
You always seem to put your foot there.

Repeat chorus 'til the cows come home.

And thank God they also didn't have Up Against the Wall, Redneck Mothers.

Openings in C'ville

Charlottesville, Virginia holds a dear place in my arts heart - back in the mid 90s when we were hunting for a place to open a gallery, I focused a lot of attention on Charlottesville before the space in Georgetown fell in our lap. I also seem to have a lot of collectors of my own work in that area for some odd reason.
Rob tarbell
Anyway... two interesting exhibitions taking place there.

At the Second Street Gallery, Rob Tarbell's appropriated stuffed animals that he usually finds at Goodwill assume new forms as their stuffing is replaced with porcelain slip and then fired in a kiln.

There will be an opening reception for Tarbell (who teaches at Virginia Commonwealth University and Piedmont Virginia Community College) on First Fridays, February 1, 6:00 - 8:00 pm, with an artist talk at 6:30PM for Rob Tarbell: The Struggles Play Nice.

Stephen L. GriffinMigration: A Gallery, Laura & Rob Jones (who own one of my drawings) continue to offer the C'ville area a kick-ass exhibition program.

Currently they have the acrylic paintings of University of Mary Washington art professor Stephen L. Griffin in a show titled "Strata."

That show goes through Feb. 15, 2008.

Then check out the cool schedule of exhibitions coming down the road, including a Washington Glass School show.

White House Redux

You can just click onto this website or read on from the news release that I received:

I'm excited to announce that I'm on the jury for a new design competition,called White House Redux, the purpose of which is to design a new home for the U.S. Presidency.

It's a speculative project, to be sure - but a fun one, and I can't wait to see what comes up.

Here's the brief: What if the White House, the ultimate architectural symbol of political power, were to be designed today?

On occasion of the election of the 44th President of the United States of America, Storefront for Art and Architecture, in association with Control Group, challenge you to design a new residence for the world's most powerful individual.

The best ideas, designs, descriptions, images, and videos will be selected by some of the world's most distinguished designers and critics and featured in a month-long exhibition at Storefront for Art and Architecture in July 2008 and published in Surface magazine.

All three winners will be flown to New York to collect their prizes at the opening party. Register now and send us your ideas for the Presidential Palace of the future!

Continuing: Few people realize the extent of the White House, since much of it is below ground or otherwise concealed by landscaping. The White House includes: Six stories and 55,000 square feet of floor space, 132 rooms and 35 bathrooms, 412 doors, 147 windows, twenty-eight fireplaces, eight staircases, three elevators, five full-time chefs, a tennis court, a bowling alley, a movie theater, a jogging track, a swimming pool, and a putting green.

It receives about 5,000 visitors a day. The original White House design, by James Hoban, was the result of a competition held in 1792. Over the centuries, presidents have added rooms, facilities and even entire new wings, turning the White House into the labyrinthine complex it is today.

What if, instead of in 1792, that competition were to be held today? What would a White House designed in 2008, year of election of the 44th President of the United States, look like?

That's the question, then: If you were to design a residential office complex for the U.S. President, what would it look like? Perhaps London's GLA? Or the CCTV Building? Or Selfridge's, Birmingham? Or the Kunsthaus Graz? Would it be stylistically European - or Latin American, or African, or Asian? Prefab? Rammed earth? Perhaps an updated Nakagin Capsule Tower? Or would it be a Walking City? Maybe a helicopter archipelago? Maybe algae-powered, or billboard-bound, or an inhabited dam? Would it be ironic, self-deprecating, imperial, solar-powered, walled off behind anti-missile batteries, or anachronistically neoclassical and made of limestone? All of the above?

Here are the specs. The jury consists of Beatriz Colomina, Stefano Boeri, Liz Diller, John Maeda, myself, Mark Wigley, and Laetitia Wolff. So step up and submit.

I'm genuinely excited about this. Show us your best! Think big, think small, think detailed. Think abstract. Change history.
Details here.

One closes and one opens in Baltimore

Touchet Gallery in Baltimore will close.

DB5K is a new space across the street from where Touchet was.

Wednesday, January 23, 2008


If you want to see 60 DC area artists all in one space (while you wait for the next Artomatic), then check out Touchstone Gallery's current show Double Vision, which is on now through Feb. 3, 2008.

Work by Mary Ott, Paul So, Cynthia Young, Alice Whealan, Jeanne Garant, Christine Cardellino, Janet Wheeler, Helen Corning, Marcia Coppel, Miriam Keeler, Mari DeMaris, Marie Straw, Melissa Widerkehr, Charles St. Charles, Walter Smalling, T. R. Logan, Kyoko Cox, Steve Alderton, Brian Martucci, Michael Lang, Emery Lewis, Chris Hutchinson, Marshe Hutchinson, Janathal Shaw, Malia Salam-Steeple, Antonia Macedo, Peter Karp, Dina Volkova, Helena Chenomazova, Maya Mackrandilal, Bill Bennett, Harriet Rosenbaum, Dina Rotklein, Harvey J. Kupferberg, Ulrich Stein, Rima Schulkind, Alice Bindeman, Aina Nergaard-Nammack, Lee Wayne Mills, Rosemary A. Luckett, Brigitte Pierrette Davis, Tory Cowles, and Kathy Beynette.

Sonya A. Lawyer at GRACE

About three years ago I came across the work of DC area photographer Sonya A. Lawyer and included her in a massive exhibition titled “Seven” that I curated for the Washington Project for the Arts/Corcoran. Then I lost contact with Lawyer's artwork.

And then last week I was invited to speak on contemporary art at the Greater Reston Arts Center in Reston, Virginia and came across the new work by Lawyer, which was on exhibition in GRACE’s beautiful new gallery spaces.

To say that I was simply impressed with the new directions in her work would be the first great understatement of 2008.

I was taken, absorbed, seduced, educated, revitalized and convinced that this talented photographer had accomplished a very intelligent marriage of her photographic skills, her gender and her culture, all succinctly wrapped up and presented for comment and absorption in this exhibition.

On view was a 21st century marriage of Mondrian design, African-American history, vintage photography, online appropriation, race relations, enviable presentation and well-honed artistic skills, and also a lesson on power and vision.

Oh yeah... and also an imaginative American photographer perhaps liberating the work of those earlier photographers on whose shoulders she stands, and also the subjects of their work.

Joanne Bauer, GRACE’s hard working curator told me that Lawyer had began collecting vintage photo albums of imagery of people of color from a variety of sources such as online auctions and antique stores.

Later Lawyer told me that after a couple of months of watching the online auctions, she realized that some participants would buy an album and then split apart the images in the album and re-sell them individually to make a larger profit.

She also told me that “the women, men, and children are for the most part nameless and only now known by their auction ID number and their seller’s quirky sign-on. The thought of families torn apart, albeit figuratively, and then sold to the highest bidder is very disturbing and repeats a very troubling part of history. Although I recognize my own complicity by participating in the auctions of my ‘ancestors,’ I do feel that I am rescuing the albums (people) I can, from further disturbance.”

Enter the power of art, as a healing process perhaps, for the artist and even for the nameless faces in Lawyer’s growing collection.

But this is not an easy step to take. She then struggled and says that as she looked over the albums for the past couple of years, she was never quite sure how to, and if she should, incorporate them into her own artistic practice.

At the GRACE show we now know that she did. And she succeeds triumphantly, and a key to the success is her presentation.

Lawyer has incorporated the vintage images into a very modern, Mondrianesque quilt-like presentation on fabric that manages to bridge modern ideas with the historical perspective of the Gee’s Bend quilters to deliver something new and refreshing and geometrical in contemporary photography.

She says that “In a quest to work with new materials, and because I never felt as I if was finding the right colors in fabric stores, I began hand-dying cotton fabric. The texture and the process finally felt right.”

The individuals chosen by Lawyer say something about her and about her focus. There are no victims in these images of a people who perhaps were being victimized by history when these photos were being taken almost a century ago. Instead, in the works on display are beautiful, empowered, and proud people, and one hard-looking individual that has known little fear of others in his hard life.

MR 096 (Cerulean Blue) from Finding Authenticity (does anyone remember?) by Sonya A. Lawyer

MR 096 (Cerulean Blue) from "Finding Authenticity (does anyone remember?)"
24" x 18", 2007, photo transfer on fabric by Sonya A. Lawyer

And curiously, as Lawyer says, except for the tell-tale signs of clothing and hairstyle, some of the photographs may have been taken “eight days ago instead of 80 years ago.”

Beautiful, empowered, and proud... not the kind of images that Hollywood and popular culture generally uses as historical references for people of color from decades in the past; not caricatures and stereotypes, but human and authentic. Lawyer notes that “their eyes twinkle with insight and intelligence as they gaze at the camera, dressed in their best, with hair perfectly coiffed.”

When one looks at old portrait photographs discarded to the bins of antique shops or the digital world of online auctions, we all seem to come up with the same questions about these long-forgotten and abandoned people. And Lawyer asks “What were their names? How long did they live? Where did they work? Were they religious? Who were their friends and lovers? And who were their enemies? Who disappointed them and discarded them like trash? And who did they truly trust and believe in?”

Unfortunately, we will never know the answers to those and many similar questions. But I submit that in rescuing them from the bins of discarded history, and incorporating them into the substrate of a new art process, and consciously marrying them into a historical presentation brought forth into a contemporary dialogue, Lawyer has not only rescued, but also liberated these images and given them the potentially infinite lifespan that great artwork delivers.

The exhibition at GRACE goes through February 16, 2008 and it is the kind of exhibition with the impact deserving of a trip to Reston, by both the public and Washington Post, Washington Times and Washington City Paper critics alike.

GRACE, under the leadership of John Alciati and Joanne Bauer has made a noticeable turn-around in the last couple of years after a handful of years of being slightly out of focus and even in confusion, and kudos to the current board, curator and President/CEO is well deserved.

Go to Reston and see this show.

Tuesday, January 22, 2008

Charles Albert Huckins' Favorite Artwork

This submission of a favorite artwork comes from Charles Albert Huckins, an active photographer in the Washington, D.C. metropolitan area who has maintained the Stonelight Images web site for the continuous exhibition of his photography since 1999. He writes:

Although I, along with your other readers, have many favorite works of art, time and circumstances require me to narrow my submission down to two anonymous works few people have ever seen before.
Masquerade © 2005 Charles Albert Huckins

Masquerade - © 2005 Charles Albert Huckins

Three Graces - ©2003 Charles Albert Huckins

Three Graces - ©2003 Charles Albert Huckins

Though virtually unknown, both of these works are priceless, in my opinion.

“Masquerade” is a painting on cinder block, replete with symbolism and, for me, is as enigmatic as the Mona Lisa. “Three Graces” is an ink drawing on enameled steel plate and has a dignity and simplicity of line that make it spell-binding. Although both are figurative works, they have all the energy and spontaneity of the abstract Gee’s Bend quilts, now so rightfully esteemed as icons of American folk art.

Both works were created by unknown former inmates of the Youth Correctional Facility of the District of Columbia Department of Corrections site in Lorton, Virginia. The entire prison facility was decommissioned in 2000 and has been owned and converted to other uses by Fairfax County since August, 2002.

What makes these remarkable works of art so unique at this time is the possibility of their being unavailable for future generations to appreciate firsthand.

In the process of transition from a prison complex to a multifaceted community resource, a number of intriguing artifacts within the prison’s walls have necessarily been destroyed. However, these two works of art, and several others scattered around the prison site, are still intact and salvageable.

Fairfax County is currently seeking input regarding the artistic value of these and other works before a final decision is made about whether or not to save them. Perhaps some of your credentialed readers might care to weigh in on the artistic merits of these works?

If any of your readers would like to express their opinions about the art-worthiness of these works in writing, I, as a volunteer assisting Fairfax County in the documentation of prison resources, will be happy to forward all such comments to the appropriate County authorities. I may be reached at
I will publicly testify that in my opinion these works not only merit being salvaged, but in doing so represent a triumph of art over adversity, in a sense.

Perhaps the Youth Correctional Facility of the District of Columbia Department of Corrections can simply isolate and protect these works, but leave them exactly where they are, maybe adding some wall text next to them so that future generations can be inspired and learn from the artwork of those who created it in far from enjoyable circumstances.

Elizabeth Whiteley's Favorite Artwork

Elizabeth Whiteley is a DC area artist whose work is already in the permanent collection of several museums. And she responds to my call for readers' favorite artwork. She writes:

It was wonderful, this past weekend, to get a start on the new creative year with my visit to the Hirshhorn Sculpture Garden to stand under the Kenneth Snelson "Needle Tower" and look up to the sky. With its cable and aluminum tube construction--held together with only a fragile tension -- it's reminder to me of the fragile relationships I have to other people and the remarkably strong structure that comes about as a result of our connections. It also sets the tone for a creative new year -- visual mysteries within mysteries to be discovered, uncovered, and made into objects and images.

Kenneth Snelson - Needle Tower
Kenneth Snelson "Needle Tower"

Polish Artists

Stop by and experience "An Ideal Mix-Up," an exhibition of works by Polish and local DC area artists at the Nevin Kelly Gallery in DC next Saturday, January 26, 4 pm for a lecture by gallerist Nevin J. Kelly on the Polish artists featured in the gallery followed by refreshments.

Essentially this show is a group exhibition that includes works by the contemporary Polish artists that helped launch the gallery in May 2003 and the many local artists who have joined the gallery along the way.

The exhibition will feature works by DC area artists Sondra Arkin, Joan Belmar, Ellyn Weiss, Mary Chiaramonte and Laurel Hauler and by Polish artists Edward Dwurnik, Darek Pala, Krzysztof Kokoryn, Pawel Król, Lukasz Huculak and Michal Zaborowski.

The show will be on view in the gallery from now until February 24, 2008.

Wanna go to a Virginia opening tomorrow?

The University of Mary Washington Galleries in Frederiscksburg, Virginia presents Mid-Atlantic New Painting 2008 with an Opening Reception on January 24, 2008 5 - 7pm.

There will be also a presentation of awards and remarks by the juror, John B. Ravenal, Curator of modern and Contemporary Art, Virginia Museum of Fine Arts. The exhibition runs through March 2, 2008.

Wanna go to an Arts Panel in DC tonight?

DC's Transformer Gallery kicks off the new year with Art School, Confidential: Rethinking Art Education, the 7th installment of their dynamic Framework Panel Series.

Art School, Confidential: Rethinking Art Education, which is free and open to the public, brings together "an esteemed group of area artists and professors in a dialogue about the influence of art schools in the lives of artists and on the direction of contemporary art-making within the larger arts landscape."

The panelists are:

- Billy Colbert (Adjunct Faculty, American University)

- Maggie Michael

- Brandon Morse (Associate Professor of Digital Media & Director of Graduate Studies in the Department of Art, University of Maryland, College Park, MD)

- Renee Stout

- Rex Weil (Professor of Art Theory, University of Maryland, College Park, MD)

And it is moderated by Dean Kessman (Assistant Professor of Photography, George Washington University), the panel discussion will be followed by a thirty minute question and answer segment with the audience.

Another Frida Show

In addition to the two Frida Kahlo type exhibitions coming to Philly that I mentioned yesterday, I was just told about this exhibition, so now make that three!

The Delaware Art Museum will present Frida Kahlo: Through the Lens of Nickolas Muray, an exhibition of nearly 50 photographs of Frida Kahlo, on view in the Brock J. Vinton Galleries February 2, 2008 - March 30, 2008. The show is courtesy of the collection of the Nickolas Muray Archives, and is part of a national tour over a two-and-a-half year period. The tour was developed and managed by Smith Kramer Fine Art Services, an exhibition tour development company in Kansas City, Missouri.


Rob: [into shaky camera] My name is Robert Hawkins. Approximately seven hours ago some *thing* attacked the city. If you found this, if you're watching this then you probably know more about it than I do.

Saw Cloverfield last night and in spite of the online hype, and in spite that I usually love this kind of movies, and in spite of the cool trailers about the new Star Trek movie coming Xmas 2008, and maybe because of the fact that I shelled out $6.50 for a large popcorn which seemed to be the size of what a small popcorn used to be in the 90s (AMC, what's up with that?), I really didn't think much of the movie.


Cloverfield is a highly derivative mix of the Blair's Witch Project camera style married to the Godzilla movies with a sprinkling of "Gadzuki meets Alien" (tunnels included).

The Godzilla and Alien influence is just too much to overcome. Not just the rambling monster destroying a city, but then the monster's offspring is up and about biting people and then the people seem to then explode and perhaps host the new offspring as it goes forth and multiplies?

The decent special effects in the film of New York being torn apart by a seldom seen monster (until almost the end) with those psych effects derived a little from M. Night Shyamalan's "Signs," unfortunately then yield a silly looking monster a little too closely related to Kermit the Frog and those weird looking spidery-looking camel crickets that seem to infect every basement in the Greater DC region.

And the logic also fails at times... the main characters seem to have little trouble killing off the nasty crawly creatures that Godzilla the Cloverfield monster drops off to bite and multiply... but when a couple of supersonic USAF jets drop off two MOABs (the world's largest and most powerful conventional bombs) onto the monster, they just cover it in a convenient cloud of dust before it comes up unharmed.

If its offspring can be killed with a bat, how come Mom survives two MOABs without even missing a step or an inch of green skin?

And the last issue that bothered me is the Hud (the actor who is the cameraman in the movie) character spends most of the time yelling: "Rob! Rob! Where are you going?"


Monday, January 21, 2008

This Saturday in DC

On Saturday January 26, from 4-6PM, Irvine Contemporary in DC will have the first Washington, DC projection screening of Paul D. Miller's acclaimed video, New York is Now, selected for the 2007 Venice Biennale.

NY is Now still by Paul D. Miller
Paul D. Miller (DJ Spooky), Film still from New York is Now, 2007, C-print

Frida Kahlo's coming to Philly

A while back I commented on the coup scored by the Philadelphia Museum of Art in getting on the Frida Kahlo bandwagon, and noted my amazement that no DC area museum was included in the tour - and yes, I know that Philly is only two hours from DC.

As most of you know, I am and have been a Fridaphile since I first came across Kahlo's work when I was 18 or 19 years old... read this essay about that particular obsession.

Seven Fridas by F. Lennox Campello - click for a larger version
"Las Siete Fridas (The Seven Fridas)"
Pen and Ink Wash, F. Lennox Campello
Univ. of Washington Art School assignment circa 1980-1981
Collection of Seeds for Peace.

And thus my warranted excitement about the coming Kahlo exhibition at the Philadelphia Museum of Art. Organized in celebration of the 100th anniversary of the her birth, this will be the first major Kahlo exhibition in the United States in nearly fifteen years. It includes over 40 of the artist's most important self-portraits, still lifes, and portraits from the beginning of her career in 1926 until her early death in 1954. The exhibition also features a selection of nearly 100 photographs of Kahlo and her husband Diego Rivera, by such well-known photographers of the period, such as Manuel Alvarez Bravo, Lola Alvarez Bravo, Gisele Freund, Tina Modotti, and Nickolas Muray. It opens February 20, and runs through May 18, 2008.

Also in the Kahlo spirit, Philadelphia's Projects Gallery will have an exhibition titled Frida and Me, Common Threads, which is of course inspired and aligned to the centennial exhibition of Frida Kahlo at the Philadelphia Museum of Art.

In this show, four contemporary Latina/Hispanic artists, Doris Nogueira-Rogers, Michelle Angela Ortiz, Marilyn Rodriguez-Behrle, and Marta Sanchez present works that "reflect on the intertwining relationships between various identities and cultures of Latin American female artists."

I'm really looking forward to visiting both of these shows and will report on them later.

Frida and Me at projects Gallery

Frida and Me, Common Threads will be open from February 1- 23, 2008. The Opening Reception will take place on First Friday, February 1st, 2008 5-8 pm with a special reading from Las Gallas Artist Collective.

Blog Heat

Seattle's blogging art critic Regina Hackett is taking some undeserved blog heat after publicly asking a couple of blogging peers "if they wouldn't mind getting to the point faster."

Artists usually learn really quickly to develop a thick skin and must learn to graciously accept malicious criticism, constructive criticism and negative criticism.

Bloggers learn really quickly to dish out all three versions of the criticism; they/we certainly also need to develop thick skins in order to accept (as in Hackett's online criticism of two fellow bloggers) constructive criticism.

And constructive criticism is definitely not an "attack" as has already been written about Hackett.

In 1997 the Washington Post's art critic Ferdinand Protzman wrote a small review about a solo show that I had in Georgetown and wrote:

Fraser Gallery is showing charcoal drawings of nudes by F. Lennox Campello. The subjects are mostly women Campello found on X-rated Web sites. He then arranged to meet and draw them. The drawings are very dark and the artist's abundant use of shadow effects can be heavy-handed and irritating. But in a few of the works he manages to find a delicate balance between the black charcoal and cream-colored paper resulting in a grainy, film-noir effect, making his subjects, traffickers in mass-consumption prurience, seem tough but vulnerable, like a flowering plant in a sexual wasteland.
I was delighted that the review-poor WaPo had chosen to review my show (and unfortunately since then the Post has further reduced gallery reviews from weekly to twice a month) and sent Ferd a thank you note, and as most of you know, proudly wear the fact that my drawings can be irritating!