Friday, February 12, 2016


What can you imagine for the future of the DC region’s visual arts scene?

What’s happening now in the DC visual arts scene? What might it be like in 2020?
ArtTable has launched a series of discussions about art in the DC region. Come to our second event to learn about and connect with museum professionals, gallerists, creative entrepreneurs, nonprofit executives, artists, collectors, advisors, educators, and even politicians.  STATE OF ART/DC 2: A Conversation powered by PechaKucha, will to create a snapshot of the current visual arts climate and a preview of what is on the horizon. Gain insights, share your thoughts, and immerse yourself in a fast-paced evening of presentations and discussion.

Moderated by Elizabeth Blair, Senior Producer/Reporter, Arts Desk, NPR

Who should attend
Anyone for whom the visual arts are a passion, a living, a dream, or an inspiration.

Monday evening, February 22, 2016

5:00-8:30 pm

Long View Gallery
1234 9th Street NW
Washington, DC 20001-4202

$25pp; $12 for students

Powered by PechaKucha
Sponsored by longview gallery

Holly Bass, Artist and Director, Holly Bass 360
Rhea Combs, Curator of Film and Photography at the Smithsonian’s National Museum of African American History
            And Culture and the Head of Center for African American Media Arts (CAAMA)
Tim Doud & Caitlin Teal Price,
Doud:  Artist and American University, Director, Studio Art
            Price:  Artist and American University, Adjunct professor, Studio Art
Jarvis DuBois, Director, J. Dubois Arts
Arthur Espinoza, Jr., Executive Director, DC Commission on the Arts and Humanities
Philippa Hughes, Writer/speaker/flâneur/provocateur
Brandon Morse, Artist and professor, University of Maryland, Dept. of Art
Andrea Pollan, Founder/Director, Curator’s Office
Tony Powell, Artist, dancer, composer, choreographer, writer
Victoria Reis, Co-founder, Executive & Artistic Director, Transformer Gallery

Moderator: Elizabeth Blair, Senior Producer, Arts Desk, NPR

Thursday, February 11, 2016

DC Artist to create a huge drawing for the Hirshhorn

This is a rarity! The Hirshhorn Museum, which is physically located within the geographical boundaries of the DMV is actually showing a DMV artist! 

Congrats to one of the DMV's best: Linn Meyers! --- Woo the Eff Whoooooo!

More please...

For TBT: 1998

1998 - Self Portrait by F. Lennox Campello
1998 - Self Portrait by F. Lennox Campello

Wednesday, February 10, 2016

A letter from Yuslier Saavedra to President Obama

I don't know who Yuslier L. Saavedra is, but her open letter to President Obama touched a raw nerve with me:
Mr. President, I am a young Cuban woman who lives in Cuba and I do not want to leave. Exile hurts and I lack the courage to miss my homeland. I want to stay in Cuba and the reality of my people leaves me with many questions. I think it is up to Cubans alone – all of us without exception – to resolve our problems; peaceful change toward democracy is ours and is in us. I dream of a sovereign people, with self-determination because we have a voice, rights and freedom. I dream of an independent, democratic and sovereign Cuba, where there is a genuine rule of law and democracy, the indispensable foundations for Cubans to be able to achieve prosperity and well-being.

You have said you want to help Cubans to improve our quality of life, which leads me to ask you some questions:
  • What has improved in Cubans’ quality of life since 17 December 2014?
  • You have called Raul Castro ‘president’; does this mean you consider him your counterpart?
  • Can a dictatorship turn itself into a democracy?
  • Do you believe that the dignity of the human person, as well as his or her well-being and quality of life starts with rights?
Thank you for your time.

Yuslier L. Saavedra
La Salud, Mayabeque Province

Opportunity for Artists

Artists wishing to be considered for an exhibit in the Howard County Arts Council galleries (located in Ellicott City, Maryland) are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations.

Detailed entry guidelines are available on the ‘Exhibits’ page of the HCAC website,; for pick-up at the Howard County Center for the Arts, 8510 High Ridge Road, Ellicott City, MD 21043; or by mail by calling 410-313-2787 or emailing The next deadline for submissions is Friday, April 1, 2016.

Tuesday, February 09, 2016

Teresa Oaxaca's Natura Morta Solo Show

I've been hearing really good things about this show and now Teresa Oaxaca's Natura Morta solo show Has been extended until February 29th. 

You can visit it any time free of charge between the hours of 10-5, Monday through Friday.  She has 20 works of art including mainly paintings, drawings plus a few prints.  The works range in theme from portraiture to still life. 

Location- The Embassy Of Slovenia, 2410 California Street, NW  Washington D.C. 20008 

You can email for purchase or commission inquiries.

 You can (of course) see a lot more works by this talented artist here... these drawings, by the way, are absolutely gorgeous!

WPA Gala

It has been my honor multiple times in the past to have been selected to participate in the WPA Gala auction; this year's version is coming up!

Elia Alba * David Antonio Cruz * Damon Arhos * Holly Bass * Sherry Bittle * Calder Brannock * Tom Bunnell * Carolyn Castano * Mary Chang * Natalie Cheung * Jerome China * Dave Choi * Hoesy Corona * Andy Cross * Aimee Crouch * Erin Elizabeth Curtis * Micah Danges * Victor Davson * Marley Dawson * Rachel Debuque * Regina DeLuise * David East * Deborah Ellis * Annie Farrar * Kate Fauvell * Jeremy Flick * Adrienne Gaither * Edel Gregan * Carl Hazelwood * Karen Heagle * Ellen Hill * Philip Hinge * Allen  Hirsch * Martha Jackson Jarvis * Allison Janae Hamilton * Haley Josephs * Shunhee Jung * Lori Katz * Jayson Keeling * Dean Kessmann * Fawad Khan * Sharon Koelblinger * Suzy  Kopf * Ya LaFord * Zofie Lang * Nate Larson & Marni Shindleman * Pepa Leon * Andrea Limauro * Dale Loy * Doreen McCarthy * Patrick McDonough * Mike McKee * Andrew Mezvinsky * Jimmy Miracle * Jonathan Monaghan * Irvin Morazan * Georgia Nassikas * Leslie Nolan * Veronika Pausova * Marta Perez Garcia * Emily Piccrillo * Alejandro Pintado * Julia Policastro * Julia Policastro * Ralph Pugay * Lynn Putney * Beverly Ress * Ellington Robinson * Gerald Ross * Jose Ruiz * Soledad Salame * Kevin Sampson * Sol Sax * J. Alex Schechter * Will Schneider White * Sheldon Scott * Joyce J Scott * Leslie Shallow * Donna Sharrett * Devan Shimoyama * Bernardo Siles * Alexandria Smith * Diane  Smith * Cameron Spratley * Altoona Sultan * Martin Swift * Naomi Taitz Duffy * Kyle Tata * Marisabela Telleria * Sylvie Van Helden * Christine Wang * Kate Warren * Clare Winslow * Julie Wolfe 

Julie Chae, Independent Curator, New York and Washington, DC; Kimberly Gladfelter Graham, Independent Curator, 1013 Artistry, Baltimore; Arnold J. Kemp, Chair & Associate Professor, Virginia Commonwealth University, Richmond; Bree Pickering, Executive Director, Vox Populi, Philadelphia; Danny Simmons, Director / Co-Chair, Rush Arts / Rush Philanthropic Arts Foundation, Philadelphia and New York; Vesela Sretenović, Senior Curator of Modern and Contemporary Art; The Phillips Collection, Washington, DC; Virginia Treanor, Associate Curator, National Museum of Women in the Arts, Washington, DC; and the WPA Board of Directors

Monday, February 08, 2016

Cam Newton Meltdown

The only thing that I have to say in reference to Cam Newton's so called "meltdown" after his Superman skills evaporated in yesterday's SuperBowl is: "Cam, if you want lessons on how to act with class when you're all bummed out because you lost... call Russell Wilson, the best quarterback in the NFL"... the 12th man is everywhere!

seattle seahawks

Why doesn't anyone pick up on this?

Read this and then this...

Sunday, February 07, 2016

Fakes Unlimited

Need more proof that Wifredo Lam is one of the most faked dead artists around? Just click here...

Want proof that people (who generally know it's a fake, but want to have a look-a-like hanging) get them? Click here.

There's also always possibly a Frida Kahlo or two...

Take a chance on Dali?

Saturday, February 06, 2016

The curious case of the Hirshhorn Museum and Cuban artists

About a decade ago I co-curated for the Fraser Gallery a giant Cuban art exhibition which brought to DC many Cuban artists for the first time - it was called "De Aqui y de Alla" (From here and from there) --- see it here: )" and it included many artists from Cuba as well as the Cuban Diaspora from around the world.

Olga Viso (who is of Cuban ancestry), at the time at the helm at the Hirshhorn came by the gallery to see the show... the head of the Hirshhorn!

Subsequently I curated a touring art exhibition of contemporary Cuban artists that I put together which traveled to DC, Philadelphia, Norfolk and Miami (Titled "Aqui Estamos" or "Here We Are").

In both cases the work avoided any and all contact with "government approved artists" and zero contact with the brutal Cuban dictatorship, and in fact, had somewhat of a dissident focus.

Of related interest to the theme, a local collector here in Chevy Chase owns a significant collection of Korda photographs, including the vintage photo of Che Guevara (Guerrillero Heroico) that Korda kept in his studio as his personal image of Guevara. The owners of the planet's most reproduced image acquired it directly from the Korda family, and I believe there's a video of the event (done as a provenance)... there are 19 photos in the collection - they were recently exhibited at the Museum of Latin American Art in California and the Jordan Schnitzer Museum at the University of Oregon and also at the Museum of Latin American Art in California.

I've heard from major collectors of Cuban art, most of whom I know well, that Stephane Aquin, the new Chief Curator of the Hirshhorn Museum is in the process of curating an exhibition of Cuban art. He brings an excellent pedigree in the subject, as about a decade ago he was one of the curators of “¡Cuba! Art and History from 1868 to Today”, an exhibition at the Montreal Museum of Fine Arts. He selected Cuban work post 1959.

Which brings me to an interesting issue.

In the past decade, I have been part of multiple gift offers of work by blue chip Cuban artists to the Hirshhorn. In every single instance that I have been involved in, it has been declined. In every single instance, the declined work ended up in another major museum.

Work by Sandra Ramos (whose iconic work adorns the cover of Holly Block's bible of Cuban art, and that same iconic print is also in the collection of MoMA) has three times been offered as a gift to the Hirshhorn Museum by two separate collectors, and it was thrice declined. 

One Ramos ended up in the collection of the Miami Art Museum, one at the University of Virginia (which under the guidance of former curator Jill Hartz accumulated a superbly impressive collection of Cuban art), and one at Cornell University. 

It was because of that, that I welcomed the Hirshhorn's new library program to acquire supporting material by Latin American artists, and their blog post noted the inclusion of a catalog of Ramos' recent show in NYC.  Of course, her American gallery solo show debut was in the DMV over a decade ago (in 2004 also at the Fraser Gallery - see I'm desperately searching my storage for supporting materials of that exhibition, as that widely reviewed show was her first solo in an American commercial art gallery.

That's a terrific new program that the museum has been funded to do -  according to the Hirshhorn, the funds will be used to catalog Latin American materials that are in their 9,000 volume cataloging backlog. So far, they've identified 500 books and catalogs in the Latin American category, and they have catalogued around 200 of those, and they have one more group of 100 to catalog once the Cataloging Department has found contract staff to implement the last grant. It's a gigantic job, but it seems to be in good hands.

Back to Cubans and the Hirshhorn.

To the Possible Limit, 1996 by Jose Bedia
According to the Hirshhorn's website search, Ana Mendieta, Wifredo Lam, Jose Bedia, Los Carpinteros, Emilio Sanchez, Felix Gonzalez-Torres, and J.F. Elso (and the five prints by the "five") are the only Cuban artists in the museum's collection and many of those were part of the original bequest, indicating to me (as far as I can tell from the website) that the museum has not acquired very many Cubans since they opened. I could be wrong, but that's what it looks like.

They did acquire this gorgeous Carmen Herrera in 2007. That was at least somewhat of a "discovery" as Herrera was not dubbed the "hot new thing in painting" by the New York Times until 2009.

That NYT piece was done when she was 94.

Herrera sold her very first painting... ever... in 2004, so the Hirshhorn jumped in early (2007), which colors my last paragraph in this post. Five gets you ten that the very gifted Olga Viso had something to do with that.

In addition to the declined Sandra Ramos (three separate gift offers) that I mentioned earlier, the Hirshhorn has in the past (since 1996 to around 2008, which is when I gave up and stopped working as a middle man to offer them gifts from collectors of Cuban art) declined gifts of works by Maria Magdalena Campos-Pons, Cirenaica Moreira, Elsa Mora, Belkys Ayon, K'Cho, Aimee Garcia Marrero, Deborah Nofret Marrero, Tania Bruguera, Carlos Alfonso (multiple pieces from his estate), Roberto Wong, Korda, Roberto Fabelo, Marta Maria Perez Bravo, and Carlos Garaicoa... I may be forgetting some.

Most of those ended up as gifts to other museums in the US (one ended up at the Tate in the UK)... it was curious to me the 100% decline rate, especially of some major works... this is the Ramos that ended up in the Miami Art Museum - it's the one titled "Ruinas de Utopia (Ruins of Utopia)" one of her key works dealing with the decline of Cuban life...  Another painting from that page was also offered (the one titled "Rescate" )- that one ended in the collection of Cornell University.

With Aquin at the helm, and his clear background in Cuban art, and with the funded interest in cataloguing peripheral material from Latin American artists, perhaps the Aquin and Hirshhorn will "discover" some other Cuban artists besides the "usual suspects," and perhaps the next time that an important gift by a blue chip Cuban artist is offered to the museum, it may find a home there.

No one has asked me, and I suspect that no one will, but if Aquin reached out to me for some recommendations, and since all the Cuban artists' names mentioned in this blog post so far should be well-known to him, I would recommend a look at DMV Cuban-American artist Ric Garcia.

Wouldn't it be great if the Hirshhorn's Cuban show included a local with a singularly unique set of artwork?

Just sayin'... time to "discover" rather than "re-do."

Bethesda Painting Awards Call for Artists

Competition Honors Local Artists with $14,000 in Prize Monies

The Bethesda Arts & Entertainment District is currently accepting applications for the twelfth annual Bethesda Painting Awards, a juried competition honoring four selected painters with $14,000 in prize monies. Deadline for slide submission is Friday, February 19, 2016. Up to eight finalists will be invited to display their work in June 2015 at a Gallery B in downtown Bethesda.

The competition will be juried by Dorothy Moss, Associate Curator of painting and sculpture at the National Portrait Gallery and director of the triennial Outwin Boochever Portrait Competition;  Dr. David Park Curry, Senior Curator of Decorative Arts, American Painting & Sculpture at the Baltimore Museum of Art and Megan Marlatt, Professor of Art and at University of Virginia.

The first place winner will be awarded $10,000; second place will be honored with $2,000 and third place will be awarded $1,000. A “young” artist whose birth date is after February 20, 1985 may also be awarded $1,000.

Artists must be 18 years of age or older and residents of Maryland, Virginia or Washington, D.C. All original 2-D painting including oil, acrylic, watercolor, gouache, encaustic and mixed media will be accepted. The maximum dimension should not exceed 60 inches in width or 84 inches in height. No reproductions. Artwork must have been completed within the last two years and must be available for the duration of the exhibition. 

Each artist must submit five images, application and a non-refundable entry fee of $25. 

For more information, or to apply online, please visit or call 301/215-6660. You may also send a self-addressed stamped envelope to the Bethesda Painting Awards, c/o Bethesda Arts & Entertainment District 7700 Old Georgetown Road, Bethesda, MD 20814.

The Bethesda Painting Awards was established by local business owner Carol Trawick in 2005. Ms. Trawick has served as a community activist for more than 25 years in downtown Bethesda. She is the former Chair of the Bethesda Arts & Entertainment District, Past Chair of the Bethesda Urban Partnership, Inc. and founder of The Trawick Prize: Bethesda Contemporary Art Awards. Ms. Trawick is the owner of an information technology company in Bethesda, Trawick & Associates.

Catriona Fraser, award-winning photographer, curator and juror is the non-voting Chair of the Bethesda Painting Awards. Ms. Fraser has directed the Fraser Gallery in downtown Bethesda since 2002. Ms. Fraser is also the Chair of The Trawick Prize and Director of the Bethesda Fine Arts Festival.

The eleventh annual Bethesda Painting Awards was held in June 2016. Bill Schmidt of Baltimore, MD was awarded “Best in Show” with $10,000; Thomas Dahlberg of Baltimore, MD was named second place and was given $2,000 and Cavan Fleming of Blacksburg, VA was awarded third place and received $1,000.

From award-winning theatre to independent films, downtown Bethesda’s Arts & Entertainment District is filled with inspiring artists and art venues. The Bethesda Arts & Entertainment District is managed by the Bethesda Urban Partnership, Inc., and is the producer of The Trawick Prize: Bethesda Contemporary Art Awards, Bethesda Painting Awards, Bethesda Fine Arts Festival, Bernard/Ebb Songwriting Awards, Gallery B, Studio B, Bethesda Art Walk, Dance Bethesda and Play In A Day. 

Friday, February 05, 2016

UMD Art Honors Exhibition

The 39th Street Gallery, Gateway Arts Center
3901 Rhode Island Ave., Brentwood, MD 20722
(Second floor, 39th street entrance) 

The University of Maryland's Art Honors Exhibition
February 6 - 27, 2016
Artist Reception February 6, from 6:00 to 8:00 PM
Free and open to the public

Trial Begins in Art Forgery Case Against Knoedler Gallery

Perhaps the most anticipated trial exploring the art market in recent years began Monday in United States District Court in Manhattan with a lawyer for a couple that bought a fake Rothko asserting in her opening argument that Knoedler & Company, a once-celebrated Manhattan gallery that is now defunct, had deceived its customers while selling them dozens of fake works that it said were by master artists.
Read the NYT story here. There were allegedly more than 30 forgeries sold to collectors over the years. There was even a painting with a misspelled Jackson Pollock name!

Here's the dark truth about art forgeries - they've been around since Roman times (if not earlier) - the Roman forgers would copy Greek statues and soak them in urine to age them, and then sell them to wealthy Romans as "ancient" Greek pieces.

And fakes will always be a part of the art world.

And there are some artists (Rothko is one of them) which are magnets for fakers... there are many, many, many fake Rothkos (most of them in museums) in existence, with shaky provenances often ignored by museum curators.

Other magnet artists for fakers: Wifredo Lam, Picasso, Motherwell, Pollock, Stella, Botero (see a trend here?).

A couple of decades ago, I was sitting at Georgetown's iconic Fraser Gallery when a lady comes in, looks at the artwork and asks me: "Where can I buy a Rothko?" She pronounced it Raath-ko.

I noticed that she has a library copy of Jeffrey Weiss' book about Rothko's work tucked under her arm.

"Usually at auction," I answered. "You do know that they start in the millions."

She didn't blink an eye. "I really like his pictures," she noted. I winced at the word "picture."

I looked at her a little more quizzical; it was clear from her "airs" that money was not the issue.

"Are you looking for an original Mark Rothko painting?", I started, "Or a painting that is in the style of Rothko... that looks like his work?" I was thinking that I could point her in the direction of some of the DMV's great contemporary abstract painters, as the gallery focused strictly on contemporary realism.

She opened her book. "I want a painting that looks like this," she pointed to several works in rapid succession.

"Do you care who the artist is?" I asked.

"I don't even know who Rothko is," she noted, and I noted that she had adjusted and corrected the pronunciation of Rothko's name to match mine. "I just want a painting that looks like one of his pictures."

I winced at the word "picture" once again, and then suggested that perhaps she should contact a local art school and see if they could find an art student interested in accepting a commission from her to "create" some Rothko look-alikes for her. I warned her that copying a Rothko might break some copyright laws, but producing a work that looked Rothkolian was perfectly legal, and in the art world simply called "derivative."

Her eyes lit up; she thanked me profusely and left.

Several months later, Madame X (that was my nickname for her, as she was the spitting image of John Singer Sargent's portrait of Virginie Amélie Avegno Gautreau at the Met in NYC), walked back into the gallery.

"I wanted to thank you," she said with a smile, as she put a giftwrapped bottle of champagne on the desk. "I got a student from the Corcoran and one from Catholic University each to do some Rothkos for me."

She then showed me on her digital camera some very Rothkolian images.

"They are great!", she beamed. "I have had six of them done! And they're huge! Just what I wanted!"

I smiled, my brain beginning to imagine where and what questions these paintings may cause 100 years from now... considering the "provenance" from Madame X.

"And my friends are all commissioning more Rothkos from them!" She finished triumphantly as she waved good bye.

I unwrapped the champagne bottle - it was an Armand de Brignac “Ace of Spades” Rose. She may not have known her Rothkos, but the lady knew her champagnes.

Thursday, February 04, 2016

At Zenith Gallery

In Celebration of Black History Month
Show Dates:  February 5- March 5, 2016
Zenith Gallery, 1429 Iris St., NW, Washington, DC 20012
Christopher Malone
Featuring Artists: Doba Afolabi, Mason Archie, Francesca Britton, Margaret DeLorme, Richard Fitzhugh, Robert Freeman, Cassandra Gillens, Hubert Jackson, Gloria Kirk, Christopher Malone, Joyce J. Scott, Karen Starika, and Curtis Woody.
MEET THE ARTISTS RECEPTIONS:  Friday, February 5, 4-8 pm, & Saturday, February 6, 2-5 pm

Where: Zenith Gallery1429 Iris Street, NW, Washington, DC 20012
Show Dates: February 5 - March 5, 2016 
Information: Margery Goldberg, 202-783-2963,
Gallery Hours: Wednesday - Saturday 12-6 pm, any other times, please call for appointment

The Daphne Series

While I was a student at the University of Washington School of Art (1977-1981), one of my school projects involved taking a mannequin deep into the woods around the Seattle area, and then fixing the mannequin onto a tree.

Once the figure was attached to a tree, I would either cover it in glue, or spray it with photo fix glue, and then cover it in tree mulch, bark, and dirt. Then I would completely glue pieces of bark to the figure, and thus make it "blend" onto the tree that it was affixed to. Eventually, the figure would be (at least visually) part of the tree, as if the figure was growing from the tree itself.

Most of these projects were done in Mt. St. Helen's as I had a school friend whose family lived at the bottom of the mountain, and it was thus convenient as he was my guide around the mountain's ape caves and trails). I suspect that all of them were destroyed by the volcanic eruption of St. Helen's on my wedding day in 1980.

I took many slides of the finished installations, but (because after art school I moved to Europe, and then returned in 1985 to go to postgraduate school, while I was at postgraduate school in California), I put about 30 boxes of books, and photos, and slides and clothes, etc. in storage with my then sister-in-law in Washington state.

9x12 inches, 1979 Intaglio Etching
by F. Lennox Campello
Edition of 100 sold out

Then, while she was on vacation, a pipe in her house broke and flooded her basement for several days. Not only did I lose many, many slides of artwork, but also lot of art, all of my disco clothes (probably a good thing), plus a couple hundred books, including my copy of a hardbound first edition, first printing of Tarzan of the Apes (now worth a lot of big ones)... and no, insurance did not pay for it; none of it.

I do, however, still have some of the preparatory sketches that I did over the years, and the memories of my student artwork that has been twice wiped out by the forces of nature, as if upset that I was re-arranging and humanizing nature. The etching above - titled Mujertrees - was the start of the idea... I made 100 etchings at printmaking class at the University of Washington and then sold all of them at the Pike Place Market in Seattle.

Over the years since, I've continued the idea; see below:

Mujertree Roots
12x9 inches
1994 Pen and Ink by F. Lennox Campello
In a private collection in Virginia Beach, VA

Mujertree Couple
8x11 inches
1995 Pen and Ink by F. Lennox Campello
In a private collection in Virginia

Mujertree (Assisted)
12x9 inches
1995 Pen and Ink by F. Lennox Campello
In a private collection in Norfolk, VA

Mujertree Forest
8x11 inches
1994 Pen and Ink by F. Lennox Campello
In a private collection in New York

"Mujertree with Broken Arms" (from Daphne series) circa 1980.
Pen and Ink. 10 x 8 inches.
Collection of the Artist

"Mujertree Forest" circa 1995
Pen and Ink. 8x10 inches.
In a private collection in Virginia

"Mujertree Forest"
Circa 2000 - Unfinished
Pen and Ink. 8x12 inches.
In a private collection in California
Daphne by F. Lennox Campello
"Daphne" circa 1995, Charcoal on Paper, 30 x 20 inches.
Private Collection in Richmond, VA

Those nature installations and the subsequent drawings and etchings were part of what I call the "Daphne Series," and which continues to this day, mostly now in drawings and etchings (above and below).

Daphne by F. Lennox Campello
"Daphne" circa 1994, Charcoal on Paper, 40 x 30 inches.
Private Collection in Charlottesville, VA
"Mujertree Rising" (from Daphne series) circa 1996
Charcoal on Paper. 10 x 8 inches.
In a private collection in Chevy Chase, MD
circa 2004
Charcoal on Paper. 14x9 inches.
In a private collection in London, UK
circa 2007
Charcoal on Paper. 7x9 inches.
In a private collection in Washington, DC
"Apollo as Daphne (Gaea Missed) - from Daphne series"
circa 2008
Charcoal on Paper. 11x8  inches.
In a private collection in New York
circa 1993
Charcoal on Paper. 20 x 14 inches.
In a private collection in Virginia Beach, VA

"Daphne (version II)"
circa 2004
Charcoal on Paper. 16x11 inches.
In a private collection in New York
circa 1997
Charcoal on Paper. 16x11 inches.
In a private collection in Reston, VA

Wednesday, February 03, 2016

At Waverly Street: 2016 Invitational

Wanted: Associate Curator of Academic Programs and Latin American Art

Position Announcement

Title: Associate Curator of Academic Programs and Latin American Art 

Department: Jordan Schnitzer Museum of Art

Reports to: Senior Curator of Western Art
Term: 1.0 FTE for 12 months (renewable annually)
Annual salary: $40,000–$50,000, commensurate with experience
Expected starting date: Flexible

The University of Oregon, founded in 1876, is the state’s flagship institution.  With a student body of almost 25,000 undergraduate and graduate students and over 260 academic programs, the university offers an energetic and robust academic environment in the welcoming college town of Eugene, Oregon.  The UO is a world-class teaching and research institution, and a member of the Association of American Universities (AAU).  The AAU is an organization made up of the 61 leading public and private research institutions in the United States and Canada, and the UO is one of only two members in the Pacific Northwest.

The University of Oregon's Jordan Schnitzer Museum of Art (JSMA) is a premier Pacific Northwest museum for exhibitions and collections of historic and contemporary art based in a major university setting. The mission of the museum is to enhance the University of Oregon’s academic mission and to further the appreciation and enjoyment of the visual arts for the general public.  The JSMA features significant collections galleries devoted to art from China, Japan, Korea, America and elsewhere as well as changing special exhibition galleries.  The JSMA is one of six museums in Oregon and the only academic museum accredited by the American Alliance of Museums.

General Description Reporting to the Senior Curator of Western Art, the Assistant or Associate Curator of Academic Programs and Latin American Art supports the museum’s mission by 1) strengthening the museum’s teaching role, working with faculty and students across campus; 2) building engagement among Latino constituents on and off campus; and 3) developing the collections and special exhibitions in support of faculty research and teaching, with a focus on modern and contemporary Latin American art. The position manages the JSMA Academic Support budget of $30,000, recommends acquisitions, and organizes special events (including Día de los Muertos) and exhibitions that have budgets ranging from $10,000–$150,000, including international loans.

Description of Duties

JSMA Academic Support (50%)
* Identify faculty and center directors whose work/interests align with JSMA exhibitions, programs, and other goals, and conduct outreach to encourage use of the JSMA’s collections and exhibitions for teaching and research. Outreach can include a quarterly faculty e-newsletter, individual meetings, and departmental presentations.
* Schedule and facilitate class visits and work with faculty to create tour agendas and curricula. 
* Lead tours and class visits in the galleries and study room. 
* Manage Academic Support Grant program, including marketing of program to faculty, intake of applications, oversight of budgets, and evaluation.
* Work with faculty to curate curricular rotations or larger exhibitions that tie in to curricular needs, with a focus on Latin American art.
* Serve with the director of education as JSMA’s point person for the museum’s Latino Engagement Plan. Tasks include building relationships with faculty, students, staff, administrators, and community members, development of seminars and courses, and program management, including the annual Día de los Muertos program.
* Create and implement workshops for faculty and graduate students to strengthen their use of the museum for teaching and research, working with colleges, schools, centers, departments, programs, and teaching-resource areas on campus.  
* Gather statistics on class visits and faculty feedback (via survey or other instruments) at the end of each term.
* Create and schedule academic programs (lectures, symposia, performances, etc.) that support faculty engagement. Includes managing program budget, developing effective outreach to academics, and liaising with artists, lecturers, and other guests to arrange travel, honoraria, and other needs.  
* Manage museum facility and technology use for courses and programs, including scheduling, budgeting, and collections access.
* Write and manage grants that further academic use and innovative practices for academic collaboration. 
* Publish and present at conferences to create greater visibility for the JSMA’s academic and Latino engagement initiatives.
* Occasionally, teach courses for the university.
* Other duties as assigned.
JSMA Collections Support (25%)
* Research and interpret a growing collection of modern and contemporary Latin American art.
* Supervise student interns and faculty members in research and exhibition of Latin American art and Academic Support grants, as appropriate.
* Serve as a curatorial representative on the Collections Committee.
* Refine Latin American collections development plan and identify acquisitions, organize exhibitions, secure loans, and develop collaborative programs with Latin American studies faculty. 
* Develop relationships with collectors, artists, and gallerists who can advance collections goals, with a focus on Latin American art.
* Other duties as assigned.
JSMA Exhibitions Support (25%)
* Develop and present exhibitions of modern and contemporary Latin American art (on loan and from collection), including contemporary artists in the Artist Project Space. 
* Work collaboratively with curatorial team on all aspects of exhibitions organization, as needed, both for collection rotations and special exhibitions, including curation, research, logistical planning, preparation of checklists and interpretative materials, and documentation.
* Serve as in-house curator or manager, as appropriate, for special exhibitions organized by faculty or guest curators focusing on Latin American art and JSMA Academic Support Grants.
* Support education of staff and volunteers regarding curatorial activities and exhibition content.
* Draft exhibition materials for collateral and PR. 
* Write grants and other fundraising proposals in support of exhibitions.
* Other duties as assigned.

Minimum and Preferred Qualifications

Minimum Qualifications
* MA in art history, with a focus on modern or contemporary Latin American art.
* Minimum 2 years’ experience working in an academic museum on curatorial projects.
* 1-2 years’ experience writing grants.
* 1-2 years’ experience supervising student workers and/or volunteers.
* Bilingual (Spanish/English): essential for communicating with artists, galleries, museums, and collectors in Mexico, the Caribbean, and Spain to support collections research development, exhibitions,  programs, and fundraising and to further the JSMA’s Latin American strategic plan.
* Demonstrated ability to work collegially and collaboratively with diverse internal and external constituents.
* Minimum 1 year experience working with faculty and students on curricular projects in the museum.
Professional Competencies
* Experience creating and conducting workshops.
* Experience researching and presenting Latin American art for museum acquisition and exhibition.
* Excellent verbal and written communication skills.
* Excellent computer skills, including MS Office and Outlook Exchange.
Preferred Qualification:
* PhD in art history, with a focus on modern or contemporary Latin American art.
* Experience working with community organizations, especially those serving Latino audiences.

The successful candidate will have the ability to work effectively with faculty, staff and students from a variety of diverse backgrounds. 
Position is subject to criminal background check.

Application Procedure
To apply, applicants should submit a cover letter, summarizing your qualifications and interest in the position; current résumé or curriculum vitae that includes dates of employment; and the names, phone numbers, and addresses of three professional references. University Advancement prefers email submissions with all materials packaged as a single PDF attachment and “Search 16007” in the subject line. Please submit applications to: Email:  

USPS:  Search Committee, Curator of Academic Programs JSMA                         University Advancement
University of Oregon
1720 E. 13th Avenue, Suite 312
Eugene, OR  97403

The University of Oregon is an equal opportunity, affirmative action institution committed to cultural diversity and compliance with the ADA. The University encourages all qualified individuals to apply, and does not discriminate on the basis of any protected status, including veteran and disability status.