Dreaming

Red Dot was quite hot for a while today.

Reason for that was that the air conditioning system took a few hours to cool the space down, although I heard that across the street Art Miami's AC system actually died in the afternoon!

We managed to put another Tim Tate on hold and are working on a commission deal for Tate as well. Also have a large Sandra Ramos' piece on hold pending measurements of available wall space.

Also sold the below piece by Michael Janis to a well-known Cuban-American collecting couple who live in one of the spectacular homes on Fisher Island here, as well as a home back in DC. I delivered the piece to their home after Red Dot closed, which meant driving to the ferry point and getting a spectacular view of the Miami skyline in a full moon, arriving at Fisher Island and upon arrival getting escorted by security to their home.

Cubans Dreaming of Liberty. Glass, powdered black glass and metal.
Michael Janis

Inside there was a massive treasure of an art collection, including one of the largest and best Jose Bedia's paintings that I have ever seen, in good company with Miro, Picasso, many Latin American artists and a surprising number of DC area artists, betraying the couple's DC roots. I saw work by DC area artists Yuriko Yamaguchi, Rick Wall, Carol Goldberg and several others whose name escapes me now.

And now Michael Janis' beautiful Cubans Dreaming of Liberty joins this spectacular collection overlooking downtown Miami from the bay.

Carlos Finlay

Medical history originally credited Dr. Walter Reed as the doctor whose work solved the scourge of 19th century warm weather, yellow fever, by proving that it was transmitted by mosquitoes.

This work eventually gave birth to the new fields of epidemiology and biomedicine.

But Cubans and even Dr. Reed himself knew that the real research hero here was a Cuban doctor named Carlos Finlay.

Finlay was born 176 years ago today in Puerto Principe, Cuba, the son of a Scottish immigrant father and a French immigrant mother. He studied medicine at Jefferson Medical College in Philadelphia, from which he graduated in 1855. Ten years later Dr. Finlay

"sent a paper to the Academy of Sciences in Havana outlining his theory on weather conditions and the yellow fever disease. He was the first to theorize that a mosquito was the way by which yellow fever was transmitted; a mosquito that bites a victim of the disease could bite a healthy person and spread the disease...

... In 1871 he spoke at medical conferences in Havana and Washington, D.C., but his theory of mosquito transmission of the virus met with silence from the medical and scientific community.

In 1900, during the first U.S. occupation of Cuba, a U.S. medical commission led by Dr. Walter Reed went to Havana to study the disease. At first the U.S. scientists didn't pursue Dr. Finlay's "mosquito" theories, certain that it was "filth" that spread the yellow fever virus.

When all their experiments failed, they began to look over Dr. Finlay's 19 years of research. Eventually they concluded that yellow fever is contagious only in the first 3 days of illness, and this became the first layer of proof for Dr. Finlay's theory.

When Dr. Reed proved that Dr. Finlay had been right all along, mosquito control programs were introduced throughout Cuba, (and in the Panama Canal zone, where worked had stopped due to yellow fever outbreaks and many deaths) and the disease brought under control.

Sadly, however, Dr. Reed's original report failed to even mention Dr. Finlay's theories and/or research, and it wasn't until 1954 (39 years after Dr. Finlay's death) that the International Congress of Medical History granted him the proper credit.

At the end of the day

The VIP night was last night and the beer, wine and absinthe was flowing in large quantities at Red Dot.

Funny how things work out, but I had predicted that this piece below would sell right away, and it did, but not before I got loads of comments about it from the crowd. Most were anti-Guevara types - this is Miami after all - but I did get into an interesting discussion with an elder gentleman who seemed offended that I had taken such stance against the icon known as Che.

“ASEre ¿SI o NO?
6x16 in. framed to 14x22. Charcoal and Conte on Paper. 2009.
F. Lennox Campello

I asked him if he had ever read Guevara's own diaries, writing and speeches.

No.

I win. At the end, as he walked away he handed me his card. He was a visitor from Cuba. No wonder.

At the end of the day you get nothing from nothing.

At the end of the day we also sold a major Tim Tate to an Alabama collector and several Heather Bryant lithos.


A Question Of Evolution. Blown and Cast Glass. electronics and video. Tim Tate. 2009.

Torpedo Factory Holiday Open House Tomorrow

Giant head finished



On Monday I showed you Philly artist Frank Hyder working on his giant inflatable sculpture for the Giants in the City art project at Bayfront Park in Miami this week. As you can see, Hyder finished his work, and the piece looks great.

Giants in the City

That city is Miami and tomorrow the Giants in the City project, curated by my good friend Alejamdro Mendoza, returns to the ABMB festivities with the mobile sculpture project at Bayfront Park in Miami.

Inflatable art sculptures by Gustavo Acosta, Angel Ricardo Rios, Miguel Fleitas, Maite Josune, Tony Kapel, Anaken Koenig, Frank Hyder, Karen Starosta Gilinski, Maki Hachizume, Noor Blazekovic, Tomas Esson, Federico Uribe, Jose Bedia and the curator, Alejandro Mendoza.

By the way, these inflatable sculptures are looking for a venue to be shown in Washington, DC. Everything travels in suitcases and it is super easy to set up, in case some DC gallery or museum is interested in hosting these gigantic works.

Report from the war art front

And nu, so today was hanging day at the Red Dot Art Fair in Miami, and by the time that I got there at 1PM or so, most studious gallerists had already done a lot of hanging so I got a sweet Doris Day parking spot right by the door.

Red Dot is right across the street from Art Miami and nearby to Scope,. Art Miami is celebrating its 20th anniversary this year. All three fairs in such a new area of Miami's Wynwood Arts District that the Garmin GPS couldn't find it and I had to find the fair the old school way, which reminded me how scary it is to rely on GPS and then one forgets how to navigate the old fashioned way.

Inside it was a sauna, as the air conditioning won't be turned on until all doors are closed sometime tomorrow.

Anyway, by seven PM or so most of the hanging, wiring, light adjusting, etc. was done, and I walked around the fair to get an early look at what was being displayed. It was a quick look, and certainly more will come later.

The first glance found some really excellent artwork in some galleries and some really questionable work in a small number of booths.

Of early note, I saw some very good Mendives, Fabelos and a great Kcho at Miami's Oñate Fine Art. These were really world class pieces by some of the biggest names in contemporary Cuban art and so far stay in my head as some of the top work at Red Dot.

Tomorrow is press preview at 5PM and VIP party from 6-9PM.

Big Head

Remember that I told you about the "Giants in the City" art project which opens later this week an will be at Bayfront Park in Miami from 2-7 December?

Below is my good friend and well-known Philadelphia artist Frank Hyder working on his giant head inflatable sculpture.

Room with a view

Done with the 1100 or so miles of driving in two days. Done with the mandatory visiting of relatives. The fair installation and VIP preview is tomorrow. Meanwhile, just to make you jealous, here's the view outside my hotel room door, about ten feet from the beach.

Ernesto Lecuona

There is more to Cuban music than salsa, mambo, rumba, son, guaracha, danzon, cha cha, bolero, habanera, zapatilla, zapateo, punto guajiro, criolla, contradanza, and the other many Cuban music genres that have worked their way into daily Western culture.

Today marks the anniversary of the death of Ernesto Lecuona, a Cuban composer and pianist of worldwide fame who composed over six hundred classical pieces, mostly in what he described as "the Cuban vein."

And yet it is an interesting paradox that perhaps his most famous work is Malagueña (The Girl from Malaga) from the Suite Andalucia.

I say paradox because this classical piece has been now interpreted as being the music that bares the soul of Spain in the piano, rather than Cuba, but betrays the island's cultural chains to the colonial mother.

But Lecuona wrote hundreds of other classical piano pieces that incorporated Cuba's unique musical legacy. Perhaps Siboney (a tribute to Cuba's lost Native American tribes) is his best.

Below is Thomas Tirino, Pianist, recorded live November 14, 2003 at the University of Miami, Gusman Concert Hall performing Malagueña. Below that is the great Placido Domingo performing Lecuona's most Cuban work Siboney. If you'd rather listen to just the piano (as it was intended) then the great Ruben Gonzalez plays it last.

Queen Isabella II pulls one on the Pope

“New research reveals that Queen Isabella II of Spain (1830-1904) knowingly gave Pope Pius IX a fake painting of a 16th-century original in her collection. It has also emerged that ten years after her “generous” gift, the Spanish queen gave the original work by Bartolomé Esteban Murillo to King Luis of Portugal.

Read about it here.

Opportunity for Artists

Deadline: January 11, 2010.

The Public Trust of Jacksonville, Florida seeks artists. All participants will electronically submit a detailed pencil drawing of one of the three Le Moyne/de Bry original works, together with 4 other examples of your past paintings so the judges can select the ten best artists to be commissioned.

Artists must also submit an entrance form which may be downloaded from their menu under "Art Contest Entrance Form." No entry fee.

If you are selected as one of the ten commissioned artists, you will complete a painting (sized 24" by 30") by June 11, 2010. At that time you will be paid your $2,500 commission and shortly afterward be featured with your fellow top ten artists in showings of all the new art work at two premier art galleries in Jacksonville.

For complete guidelines, please visit this website. Questions? Contact Andrew Miller at adm@publictrustlaw.org or call (904) 247-1972 ext. 418.

Happy Thanksgiving

I hope that you all have the luck to spend today with your families and that we all think a thought for all those who can't.

Below is how pumpkin pies are made, source unknown, but clever!

Cuban art: Still caliente!

Cuban art continues to rise and gain importance in the international market. Last week, during the New York Latin American Art sales, on November 17 and 18, two major Cuban masters from the vanguardia period reached new world auction records.

My friends from Cernuda Arte in Miami tell me that a work titled Guajiro con Gallo (Cuban Peasant with Rooster), a signature oil on canvas, 24 ¼ x 20 inches, by Mariano Rodríguez, was offered at Sotheby’s November 18 sale. It reached a final hammer price of $482,500, exceeding the artist’s previous record of $354,500 attained eleven years ago.

Another success was, Carnaval (Carnival), an oil on canvas work, 20 x 16 inches by the revered Father of Cuban Modernism, Víctor Manuel García, offered at Christie’s November 17 sale. The painting logged enthusiastic bids before setting a new auction record of $182,500. The former record for a Víctor Manuel painting was $141,900 six years ago.

Heading to Miami

On Friday I'm driving down to Miami for the Art Basel frenzy of art fairs with a van load full of artwork. I will be at Red Dot Art Fair in the Wynwood Arts District and the location of the fair is 3011 NE First Avenue at NW 31st Street, Miami, FL 33137, really close to the massive Art Miami and the elusive Scope.


If you'd like some free passes to Red Dot, drop me an email to lenny @ lennycampello.com and I'll leave them at "will call" at the fair. I'll be in booth B105, so if you are in Miami, please drop by.

I'll be writing from the fairs as much as I can and as time allows. I have free passes to all the art fairs, so I hope to do some writing about some of them.

What the Bader Fund said...

This is what the Franz and Virginia Bader Fund said to my application:

Long Live Freddy Mercury

Man... I wish this guy was still alive and making music. He died on this day in 1991.

Giants in the City

I'm heading down to Miami later this month for the Art Basel Miami Beach frenzy of art fairs and art events, and one of the things that I'm looking forward to seeing is the Giants in the City project, curated by my good friend Alejamdro Mendoza, which returns to the ABMB festivities with the mobile sculpture project at Bayfront Park in Miami from 2-7 December.

Inflatable art sculptures by Gustavo Acosta, Angel Ricardo Rios, Miguel Fleitas, Maite Josune, Tony Kapel, Anaken Koenig, Frank Hyder, Karen Starosta Gilinski, Maki Hachizume, Noor Blazekovic, Tomas Esson, Federico Uribe, Jose Bedia and the curator, Alejandro Mendoza.

By the way, these inflatable sculptures are looking for a venue to be shown in Washington, DC. Everything travels in suitcases and it is super easy to set up, in case some DC gallery or museum is interested in hosting these gigantic works.

Migrations at the Embassy of Chile

This is the last week to see the "Migrations", a mini retrospective of the works of my good friend Joan Belmar, with works from 1995-2009. The exhibition is open from 8:30am to 6:30pm Monday-Friday and is closing on Nov 27th 2009 at 6:00pm.

The Chilean Embassy is located at 1732 Massachussets Ave., N.W., Washington D.C. 20036. Phone: (202) 785-1746.

Laurel Lukaszewski at Project 4

I first fell in love with the movies of Akira Kurosawa when I was a kid. Both my father and I really liked the action-packed masterpieces of Japan's best-known director and little did we know that his minimalist samurai sagas would be the artistic precursors of the martial arts films of today.

I fell in love with Laurel Lukaszewski’s work when I first discovered it in one of the past Artomatic free-for-all mega art shows in Washington, DC. Back then, I picked her work as the key find of that particular Artomatic, and then I sat back in self-righteous pleasure as I saw Lukaszewski continue to grow as an artist and artistic force around the DC region. Back then I had no idea that Kurosawa and Lukaszewski would one day share a moment in my mind's eye and live together forever in this review.

In the past I have also pointed to Lukaszewski as one of the District's artistic powerhouses that are dragging clay and other "crafty" substrates away from the craft world and into the rarified upper artmosphere of the blue chip fine arts world. I call them the Steiglitzes of the other side of the art tracks, dragging their media away from the craft and unto the fine arts arena.

For a couple of years after that Artomatic, in the DC region we all marveled at Lukaszewski’s spectacularly complex interwoven forms, which managed to take the visual sense of the Byzantine into a minimalist context – that’s an almost illogical bridge which would ruin most Vulcan minds.

But the sheer sharpness of this artist’s prowess did exactly that: she delivered these complex, tubular (not in the Californian sense) forms that interlocked in gorgeous wall hanging mazes that pulled us with a new found magnetic attraction to the media of clay.

“There is magic in them works,” someone wearing a Caterpillar ball cap and chewing on a chunk of grass might say, and that magic served Lukaszewski well as it pulled us very close to her work to examine how impossibly complex and how cleverly minimalist they were at the same time.

And now for the exhibition at Project 4.

“God is really only another artist,” Picasso once said. “He invented the giraffe the elephant and the ant. He has no real style. He just goes on trying other things.”

And that is what artists, real fire-in-the-gut artists, are supposed to do. And the fire that burns in Laurel Lukaszewski’s belly really came to a high roar in this exhibition at Project 4 gallery on U Street, NW in DC. And to say that I was left reeling from seeing what a huge new artistic footprint this artist has made in one show would be the understatement of the year.

There are only four pieces in the show: Sakura (a sculptural cherry blossom installation); Pause (a hanging ribbon installation); Ghost (sculptural leaves); and Floridan (an outdoor floor piece).

I’m going to take a chance and write about only one of them, because that one piece describes the new impression that the artist has left on me.

Sakura (detail) by Laurel Lukaszewski
In Sakura, the two-level gallery is used to showcase hundreds of small cherry blossom sculptures, each one individually pinned to the wall, to float and rise up from the main level, like a wave of starlings, from floor to floor. On the edges of the walls where the blossoms grow from, the floor is covered in delicate lost petals. Sakura is Japanese for cherry blossom.


Sakura (detail) by Laurel Lukaszewski
Each individual cherry blossom is a gorgeous example of a master sculptor at work - hundreds of them, floating up in a swirl of shadow-casting flowers is something else more akin to an Akira Kurosawa film come to life in a minimalist dream (for all you Kurosawa fans, I am referring to Sanjuro, specifically the part of the film where the camellia flowers in bloom are cut from the tree and dropped by the hundreds in the river to float down stream, as the signal for attack).

In this piece the artist bridges a paradox: minimalism is less – and she accomplishes that in the art form. And yet, her minimalism requires, no… demands - an entire “home” as its home.

What do I mean by that?

This gorgeous and enormous piece is a re-arrangeable work of art that can be set and re-set and re…ahhh… reset in many shapes, each one of which will yield new results, but the “less” part of minimalism in this case needs and covets more and more of the wall that it requires to anchor itself to.

I submit that Sakura is such a spectacular work of art that when a collector purchases it, and I hope that a savvy one will soon, the only way that it should be showcased would be as the only work of art in that room, home, condo, house or setting. Anything else hanging on those walls around Sakura would diminish the artistic power punch to the solar plexus that Sakura delivers.

It is the triumph of minimalism over space. And it is the triumph of a courageous artist not afraid to flex her own artistic muscles.

The exhibition goes through December 18, 2009. Go see this show and see the trailer for Sanjuro below: