Wanna know about one of the world's most racist dictatorships? Click here.
Also, I believe that 400,000+ heroes buried at Arlington Cemetery is more than 400,000 reasons to stand for the national anthem.
Since 2003... the 11th highest ranked art blog on the planet! And with over SEVEN 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.
Kate McGraw on How to Run for Political Office
Thursday, September 22, 6:30 p.m.
Artist and former DC resident Kate McGraw is running as an Independent for the Pennsylvania House of Representatives. Come learn what Kate has picked up along the way, how being an artist has informed her political thinking, and how you too might start your own campaign.
Ellen Lupton on Campaign Identities, with Christian Dutilh of Composite Co.
Wednesday, October 26, 6:30 p.m.
Curator of contemporary design at Cooper-Hewitt, National Design Museum in New York City, and director of the Graphic Design MFA program at Maryland Institute College of Art (MICA) in Baltimore, Ellen Lupton is one of the pre-eminent design curators and editors in the U.S. Join us for an evening on the history of campaign identity design. She will be joined by Christian Dutilh, co-designer of the SHELDON FOR DC platform.
Ellen Lupton is 2007 recipient of the AIGA Gold Medal, one of the highest honors given to a graphic designer or design educator in the U.S. Her publications include Thinking with Type (2004), Design Your Life: The Pleasures and Perils of Everyday Things (2009), and Graphic Design Thinking (2011).
Christian Dutilh is Principal of Composite Co., a branding and design studi
o.
For more information on these events and SHELDON FOR DC, please visit
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I am also excited to announce that my new book, The Artist as Culture Producer, is now available to pre-order at a discount until October 1st (use code PRARTIST).
To support the release of the book, we are now raising money for an extensive conversation tour across America and abroad that will connect contributors of the book with other regional artists and community stakeholders.
Please support our community building efforts by donating here:
http://www.livesustain.org/donate
The cover of Australian art magazine Vault, which features a painting of a naked pregnant woman, has been censored for newsagencies, raising questions about perceptions of the female body.
The painting, titled Brood (2005-2006), is by well-known New York artist Lisa Yuskavage, whose sought-after work sparks million-dollar prices.Read the story here.
The New York Times this week quietly ended its coverage of restaurants, art galleries, theaters and other commercial and nonprofit businesses in the tri-state region, laying off dozens of longtime contributors and prompting protests from many of the institutions that will be affected. They foresee an impact not only on patronage but, in the case of the nonprofits, on their ability to raise funds to survive.The NYT is doing exactly what the Washington Post started doing over a decade ago, when the disastrous Style section period under Eugene Robinson all but destroyed the local visual arts coverage by the WaPo.
An artist’s estate is successful when it is able to keep the work alive: when subsequent generations of artists draw inspiration from it and when curators, researchers and collectors continuously find new ways to approach it. This goal is achieved when the estate initiates dialogue and exhibitions, contextualises the work, and makes it accessible to contemporary artists. Reaching it, however, requires a quantity of high-quality works as well as financial resources. Furthermore, a vast array of knowledge and skills, ranging from an art-historical understanding of the work to managerial and business know-how, are crucial to the success of this endeavour. Thus, heirs often devote a significant portion of their lives to this work.Read this fascinating advisory article here.