I don't know how long this will be online, but WJLA has the picture of my moustache illustrating this story.
Ahhh... thank you! I think?
Ahhh... thank you! I think?
Since 2003... the 11th highest ranked art blog on the planet! And with over SIX million visitors, F. Lennox Campello's art news, information, gallery openings, commentary, criticism, happenings, opportunities, and everything associated with the global visual arts scene with a special focus on the Greater Washington, DC area.
Name | Ward | Official Amount |
---|---|---|
Abdul Ali | 6 | $5,000 |
Adam Davies | 3 | $10,000 |
Alexis Gillespie | 4 | $10,000 |
Anna Edholm Davis | 4 | $7,500 |
Anne Marchand | 2 | $10,000 |
Anu Yadav | 4 | $10,000 |
Armando Lopez-Bircann | 1 | $5,000 |
Assane Konte | 5 | $7,500 |
Ayanna Gregory | 4 | $10,000 |
Brian Settles | 5 | $10,000 |
Carmen Wong | 2 | $10,000 |
Carolyn Joyner | 1 | $5,000 |
Cecilia Cackley | 6 | $10,000 |
Christylez Bacon | 1 | $5,000 |
Dan Steinhilber | 6 | $10,000 |
Dana Burgess | 3 | $5,000 |
Dana Ellyn | 2 | $5,000 |
Daniel Flint | 6 | $5,000 |
David Keplinger | 2 | $10,000 |
Dean Kessmann | 3 | $10,000 |
Elizabeth Acevedo | 6 | $10,000 |
Ellie Walton | 1 | $10,000 |
Emiliano Ruprah | 4 | $5,000 |
Eric Gottesman | 1 | $5,000 |
Fawna Xiao | 6 | $5,000 |
Fred Joiner | 6 | $7,500 |
Gregory Ferrand | 4 | $10,000 |
Holly Bass | 1 | $10,000 |
James Byers | 7 | $10,000 |
Joey Manlapaz | 6 | $7,500 |
Jonathan Tucker | 6 | $10,000 |
Juan Gaddis | 4 | $5,000 |
Julia Bloom | 3 | $10,000 |
Karen Baker | 5 | $5,000 |
Karen Evans | 5 | $7,500 |
Karen Zacarias | 1 | $10,000 |
Kate MacDonnell | 1 | $10,000 |
Kim Roberts | 1 | $5,000 |
Krys Kornmeier | 3 | $5,000 |
Linn meyers | 4 | $7,500 |
Lisa Farrell | 5 | $5,000 |
Liz Maestri | 1 | $5,000 |
Maggie Michael | 2 | $7,500 |
Marjuan Canady | 4 | $5,000 |
Mark Parascandola | 1 | $10,000 |
Matt Sesow | 1 | $7,500 |
Matthew Mann | 6 | $7,500 |
Maureen Andary | 4 | $7,500 |
Maurice Saylor | 5 | $10,000 |
Michael Janis | 5 | $10,000 |
Michael Sirvet | 2 | $10,000 |
Michelle Herman | 4 | $7,500 |
Mickey Terry | 7 | $10,000 |
Miya Hisaka | 3 | $5,000 |
Molly Springfield | 1 | $5,000 |
Naomi Ayala | 1 | $10,000 |
Norman Allen | 4 | $10,000 |
Paul Bishow | 1 | $7,500 |
Paul Reuther | 2 | $7,500 |
Paul Thornley | 6 | $7,500 |
Rania Hassan | 5 | $7,500 |
Regie Cabico | 1 | $10,000 |
Renee Stout | 5 | $7,500 |
Rik Freeman | 7 | $7,500 |
Ruth Forman | 5 | $7,500 |
Sam McCormally | 5 | $5,000 |
Sandra Beasley | 1 | $10,000 |
Sara Curtin | 1 | $7,500 |
Sean Hennessey | 5 | $7,500 |
Siobhan Rigg | 5 | $7,500 |
Sondra Arkin | 2 | $10,000 |
Stanley Squirewell | 5 | $5,000 |
Stephon Senegal | 4 | $7,500 |
Thomas Colohan | 1 | $10,000 |
Tim Tate | 2 | $7,500 |
Trevor Young | 2 | $7,500 |
Valerie Theberge | 3 | $10,000 |
Yi Chen | 3 | $10,000 |
No Chinese painting had ever fetched so much at auction, and, by the end of the year, the sale appeared to have global implications, helping China surpass the United States as the world’s biggest art and auction market.Read the NYT story here. And chances are that if you think that you own a real Wifredo Lam, you're in the same boat... cough, cough...
But two years after the auction, Qi Baishi’s masterpiece is still languishing in a warehouse in Beijing. The winning bidder has refused to pay for the piece since doubts were raised about its authenticity.
Over 150 artists entered the lottery to have the opportunity to have Mera Rubell visit their studio and these are a few of the lucky 36 selected. Ms. Rubell and Ms. Gold, Director of the WPA, were joined at points throughout their tour with notable arts professionals from local museums and galleries as well as members of the press from Baltimore and Washington, DC. After the 36 hour marathon Ms. Rubell has invited participants and all applicants to 36 Studios: Part Two to join her for an after party at the Lord Baltimore Hotel on Sunday, October 27 from 6-8:00pm.
"Im still processing that Native Americans are one-third European," says geneticist Connie Mulligan of the University of Florida in Gainesville. "It's jaw-dropping." At the very least, says geneticist Dennis O'Rourke of the University of Utah in Salt Lake City, "this is going to stimulate a lot of discussion."Details http://www.sciencemag.org/content/342/6157/409.full
November 1 - December 21, 2013
Artist Opening Reception: First Friday, November 1st, 6-9 pm
Projects Gallery Philadelphia is pleased to present Alex Queral’s “Face | Book – Phonebook Portraits”. In his third solo exhibition with the gallery, Alex explores the duality of the recognizable and the anonymous in modern society. Works being featured include his signature hand-carved telephone books, as well as large-scale digital prints.
Born in Cuba with a migration to Mexico before landing in the U.S., the artist has experienced first hand the sense of invisibility. Taking, until now, an easily discarded object like a residential telephone book with its lists of thousands of faceless names and numbers, Alex transforms them into three-dimensional portraits of the famous and no-so famous of today’s mass media. Using the simple tools of an X-ACTO® knife and a little acrylic paint, his talented hands dissect, eviscerate and reconstruct these pages of soft material into incredible art objects. Utilizing classical carving techniques on an unexpected material, Queral brings forth the individual from the faceless masses. The artist crafts recognizable visages, vaguely familiar but elusively foreign, as well as evoking his own cast of characters from the found sheets of paper.
What happens to these images when you enlarge them five fold, returning them to the cinematic context from which they came? The graphic details become surprising clear. The object transcends the material and becomes the focal point of discovery and serendipitous moments appear. John Wayne’s given name (in the female) appears on his forehead; Clint Eastwood has a listing of funeral homes, perhaps a reference to the many men shot by Dirty Harry; Zimmerman is hidden behind the head of Bob Dylan. However, with either media, the distinctly iconic work of Alex Queral cannot be denied.
Mr. Queral received a B.F.A. from the University of Washington, Seattle and a M.F.A. from the University of Pennsylvania. His works have been exhibited around the world and throughout U.S.; most recently at the Philadelphia International Airport and in Hong Kong. They are in the collections of Ripley's Believe It or Not!®, Sasktel Canada, Jerry Speyer and numerous private collections. His images have appeared in numerous books, including Art Made from Books; 500 Paper Objects: New Directions in Paper Art – A Preview; Ripley’s Believe It or Not! Enter If you Dare!; Playing with Books: The Art of Upcycling, Deconstructing and Reimaging the Book. Queral's work has gained International acclaim through numerous internet bloggers. His carved telephone books and prints are exclusively represented by Projects Gallery.
Face | Book – Phonebook Portraits will run November 1 – December 21, 2013 with an artist reception on First Friday, November 1st from 6-9. The reception is free and open to the public. Projects Gallery is located at 629 N. 2nd St. in Philadelphia’s Northern Liberties section. A preview of works may be viewed on the gallery’s website at www.projectsgallery.com. For more information and images, please contact Projects Gallery at 267-303-9652 or info@projectsgallery.com
The LLC has become an increasingly popular corporate structure. LLC’s combine the personal liability protections of a large corporation and the simplified tax structure and filing requirements of a partnership or sole proprietorship. Traditionally, corporations were the only structure that afforded personal liability protection. Because corporations are distinct entities with the power to make agreements, sign contracts and even commit crimes, owners couldn’t be blamed for its actions. Owners are merely shareholders; the corporation is the one that should pay for the wrongdoing. That was a benefit many businesses wanted.Details here.
“Are you going to be rich?” That is the first question people ask me upon finding out that in the wee morning hours of October 17, the famed street artist Banksy painted a mural on the side of a building my family owns in East Williamsburg.
The truth is — at the end of an exhausting day filled with phone calls talking to lawyers, security companies, art experts, and reporters — I have no idea what it means. There is no rule book when one of the most famous artists in the world decides to drop his work into your life.
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Scads of artists are trying to be junior postmodernists. A phalanx of work has appeared that might be called "Modest Abstraction" or "MFA See, MFA Do." It's everywhere, and it all looks the same. In sculpture there's Anarchy Lite. Those post-minimalist formal arrangements of clunky stuff, sticks, planks, bent metal, wood boxes, fabric, old furniture, concrete things, and whatnot leaned, stacked, stuck, piled, or dispersed around a clean white gallery. There's usually a subtext about wastefulness, sustainability, politics, urbanism, or art history. That history is almost always straight out of sixties and seventies Artforum magazines or the syllabi of academic teachers who've scared their students into being pleasingly meek, imitative, and ordinary.Read excellent piece by Jerry Saltz here.
Due to the Government shutdown, we are unable to offer this website service at this time. We will resume normal operations when the government is funded.To start with, this is quite an interesting Spanish translation of the English language statement. It appears to discuss some sort of telephone service... but I have no idea what the last word means... clearly someone typing the statement juxtuposed two letters and came up with a new word... cough, cough...
Debido al cierre del gobierno no podemos ofrecer este servicio telefónico en este momento. Nosotros reanudaremos el funcionamiento normal cuando el gobierno este fianciado.
Generating income from art in the form of either cash or cash equivalents is always challenging, especially for artists with unconventional ideas or for those who create art that may not be commercially viable. The good news is that the art world is one place where anyone who shows talent and promise, marketable or otherwise, can get help in a variety of ways including cash grants, residencies, employment or internships, allowances, free or low-cost studio space, art supplies, exhibition space, and so on. Receiving these types of assistance is not easy; application processes can be rigorous and competition is often intense. So in the interest of giving you a bit of an edge in situations where you're contending for a bequest, here's a brief tutorial on procedural matters.Read more here...
Judith Peck, Lenny Campello and Mera Rubell at (e)merge 2013 |
The Ballston Business Improvement District (Ballston BID), in Arlington, Virginia, seeks to commission multiple temporary public art installations that explore the interaction of art, science and technology in public space. The projects would be presented as an ongoing series in Spring 2014. We are primarily seeking responses from artists and innovators living or working in the Mid-Atlantic area.
The Ballston BID seeks to commission up to nine projects, for which it would provide stipends ranging from $2,000 to $12,000. The Ballston BID is seeking a mix of projects, in regard to their duration, media, location and budget; however, all projects must be located in or viewable from key streets and public spaces in the Ballston core. Questions will be accepted through September 30, and responses are due on October 7, 2013, 4 p.m. EDT. Responses will be evaluated by a committee of curators, arts administrators and artists familiar with this field.
Booth A-14 |
Rooms 215-216 |
I go to a lot of art openings and typically don't hang around all that long at any one place. I look at the art and, when possible, have a few words with the artist, after which it's on to the next show. I recently had a chance encounter with an artist whose opening I had been to several nights before. We exchanged pleasantries, and I mentioned how much I enjoyed the show. The artist thanked me and, as we were about to part, asked somewhat cryptically, "Did you look at the art?" with emphasis on the word "look." Without thinking, I answered, "Of course," but then felt a curious twinge of guilt as I walked off wondering, well... did I really look at it? Yes I did, but the artist's implication seemed to be that perhaps I didn't look at it long enough. Hmmm.Read the entire fascinating piece here.
So I got to thinking-- what does it mean to "look at the art," and even more to the point, what does it mean to look at it enough? And even more importantly, what does it mean to look at art enough to become so excited about it that you decide to buy it? Enough according to whom? Who decides when enough is enough? And how does looking at art progress to buying that art? In particular, what does this "act of looking" mean from the artist's perspective as distinguished from that of the viewer (potential buyer)?
Dialogue Oil and Plaster on board 18 x14 inches 2013 Judith Peck Will be in Room 215 at the (e)merge art fair next week |
Transitory Window Oil and Plaster on board 14 x11 inches 2013 Judith Peck Will be in Room 215 at the (e)merge art fair next week |
Moby Dick: Queequeg's Fast. Oil on Panel by Tim Vermeulen |
Moving On. Ceramic on Textured Panel by Jodi Walsh |
Pulse. Acrylic and mixed media on canvas by Anne Marchand |