Monday, April 17, 2017

Torpedo Factory Artists’ Association Welcomes Fifteen New Members

The Torpedo Factory Artists’ Association recently completed its Annual Membership Jury. From this process, fifteen new artists were selected as Associate Members. Congratulations to:  Ahmed Ansari, Veronica Barker-Barzel*, Ramon Camarillo, Cam Chapman, Dennis Crayon, Tsolmon Damba, Mary Beth Gaiarin, M. Alexander Gray*, Briana Hertzog, Yoon Sun Lim, Lizzy Lunday, Charlene Nield, Ciddi Sermin, Meg Talley, and Marine Weiss for being selected as the Torpedo Factory Artists Class of 2017.
The Annual Membership Jury process is conducted in two phases. The first phase evaluates the digital images submitted with each application. Steve Prince, Associate Professor and Artist in Residence at Allegheny College, served as the Phase I juror. In Phase II, artists are placed into one of two groups: two-dimensional or three-dimensional work. Artist work is then anonymously evaluated, both individually and collectively, by all three jurors for that group. There are no quotas or recommendations given to the jurors by the Torpedo Factory Artists’ Association.
For 2017, the jurors for two-dimensional jurors were: David Bellard, Creative Director, Social Marketing & Program Services at Rare Residency Program; Glen Kessler, Founder of The Compass Atelier; and Robert Yi, Director of George Washington University’s Corcoran Arts Continuing Education Program. The three-dimensional jurors were: Michael Janis, Co-director of Washington Glass School; Mary Cloonan, Professor of Ceramics, Adjunct, Towson University and Exhibitions Director at Baltimore Clayworks; and David Knopp, Towson Art Collective and Sculptors Inc.
The Newly Juried Artist exhibition is on display in Gallery 311 at the Torpedo Factory Art Center until April 30. There is a closing reception on April 30 from 3:00 pm - 5:00pm.
On a note of personal interest, waaay back in 1995 or 1996 I applied to this process and was soundly rejected! Another example of why artists need thick skins! Congrats to all the new members!
*Members of Printmakers Inc; a Torpedo Factory studio and workshop

Sunday, April 16, 2017

Wanna be in an art show?


Wish You Were Here 16
A.I.R. Gallery's Annual Postcard Show

A.I.R. Gallery is pleased to announce its 16th annual postcard show, Wish You Were Here, which will take place in the entry gallery of our Plymouth Street location from May 25 - June 25, 2017. This inclusive event both raises valuable funds for A.I.R. programs and makes affordable artwork available to the public. Past Wish You Were Here exhibitions have included work by notable artists like Mary Beth Edelson, Dottie Attie, Mary Grigoriadis, and Barbara Zucker.

They invite artists from all over the world - female / male / cis / trans / gender nonconforming / neutral -  to participate by donating 1 postcard-sized work (4 x 6 inches) in any medium. Each original work is sold for $45 on a first come first serve basis and the buyer will take the work with them at the time of the sale. All proceeds go to benefit A.I.R. programming and are tax-deductible to the fullest extent of the law.


For more information and to submit work for the annual postcard show, click

Deadline is May 19, 2017 at 6pm.

Saturday, April 15, 2017

Wanna go to an opening tonight?

Jacob Kainen, High Noon II, 1980, oil on linen, 24" x 30"
Jacob Kainen, High Noon II, 1980, oil on linen, 24" x 30"


Romare Bearden, Woman and Egret, 1975, collage and acrylic on board, 11 3/4" x 16"
Romare Bearden, Woman and Egret, 1975, collage and acrylic on board, 11 3/4" x 16"
April 15 - June 10, 2017

Opening on April 15, 2017, 6:00pm - 8:00pm at Hemphill

HEMPHILL1515 14th St NW
Washington DC 20005
tel 202.234.5601

Friday, April 14, 2017

Wanna go to a Friday night Opening?

Amazon Lady in Red Chair by Marcie-Wolf-Hubbard
Amazon Lady in Red Chair by Marcie-Wolf-Hubbard

Traveling in Place
April 10 - May 5
Paintings by Marcie Wolf-Hubbard
Artist’s Reception: April 14 (7–9pm)

Frida at $100 starting bid!

Frida in a Cross of Clouds

Frida in a Cross of Clouds
Charcoal, Conte and Unfired Bisque, c. 1980-2017, 7x7x2.25 inches
F. Lennox Campello
"Frida in a Cross of Clouds" is one-of-a-kind mixed media (charcoal, conte, and unfired bisque), about 7x7 inches, c. 1980-2017 and designed to hang as a 3D piece on your wall... and which will be part of my upcoming solo show at Judith Olivia HeartSong's wonderful Artists and Makers Studios in Rockville! Stay tuned for more details! At $250 this will be gone on opening night, so reserve it now with Judith!


Thursday, April 13, 2017

Art Scam Alert!

Stay away from this mutant... E-mail address is, in case anyone else gets this:
Am Anthony Petrello from California. I actually observed my wife has been viewing your website on my laptop and i guess she likes your piece of work. I'm also impressed and amazed to have seen your various works too, You are doing a great job. I would like to purchase one of your Collections Labyrinth Sculpture, 16.5 H x 32 W x 1.5, as a surprise to my wife on our anniversary. Also, let me know if you accept check as mode of Payment.

20th Annual Bethesda Row Arts Festival

Application Deadline: May 31, 2017
Apply Here

WHAT: 20th Annual Bethesda Row Arts Festival

WHERE: Bethesda Row - Bethesda, Maryalnd
WHEN: October 14-15, 2017
           Saturday 11am - 6pm; Sunday 10am - 5pm


*The Great Application Giveaway - Art-Linx will award 3 lucky artists their jury fee. This random drawing is based on application (not acceptance) to the show.  Winners will be notified via email.

*Limited to 195 Artists

*45,000 Attendance 

*Multi-Page Glossy Program - mailed to 20,000 high income single family homes  prior to the show 

*Cash Awards:  First Place $2000, Second Place $1500, Third Place $1000
      Best in Category (16) $50

*Free artist parking

*Artist Hospitality Room stocked with snacks & beverages during the show
*24-hour police security

*Festival Director and Staff on-site during entire festival

*Artist only bathroom facilities

*Booth sitting

*Extensive Marketing to Art Buying Patrons

We invite you to apply to the 20th Annual Bethesda Row Arts Festival.  The festival takes place on the streets of Bethesda Row, a prime location of fabulous dining, entertainment and specialty boutiques.

Our multi-page glossy program will be mailed to 20,000 high income single family homes prior to the show and personally handed out by your street captain to the 45,000 art lovers who come to the show.

Jury Fee: $40
Booth Fee: $550 10'x10', Limited 10'x15' and Double Booths Available
Application Deadline: May 31, 2017
Notification: June 30 , 2017

For more details visit their Website
Contact: Robin Markowitz, Festival Director at or call 

Wednesday, April 12, 2017

Mid City Artists Open Studios

Mid City Artists (MCA), a decade old visual art collective, located in one of the liveliest sections of the city, opens their studio doors on May 13th and 14th. Local artists invite the public to explore and interact in the intimate setting of their studios, spread among the Mid City area of NW Washington DC (from Dupont Circle, to U Street and Logan Circle), by offering visitors a rare portal into the artists’ creative habitat.
For the first time, the Mid City artists will also show their work in an Open Studios Preview Night on May 11th at the White Cloud Gallery located at 1843 14th Street, NW. Examples of work created by the talented artists who live and work in the neighborhood will entice you into the studios to see more.
Visitors can enjoy DC’s spring weather by touring artist studios and witnessing an expansive offering of art and culture by some of the city’s most talented and creative artists. It is an opportunity to see the most recent works by artists at the site of their origin, gain meaningful insight into their process of creation and participate in the District’s dynamic and diverse arts community. MCA open studios gives collectors and art lovers the opportunity to purchase works directly from the artists’ studio inventory and discover new talent before it makes its way to the gallery walls. 
Open Studios is free and offers self-guided and guided tours. The self-guided tour is an open format that has proven to be an ideal way to encourage dialogue between artists and enthusiasts allowing visitors to gain firsthand knowledge about the creative process. Guided tours will also be offered on a first-come, first-serve basis and will help familiarize participants with the works in a conversational setting. These free guided tours must be reserved in advance.  To reserve a tour, please email and to download our map, visit the MCA website ( 
MCA studios remain nestled among the new condos, trendy shops and restaurants, proving that artists find ways to make space for their creativity. These local artists continue to contribute to the growth of Mid City by infusing the neighborhood with authenticity, creativity and economic activity. MCA is a driving force in keeping art and creative expression alive within Mid City. 
The Mid City Artists Open Studios is generously supported by many Mid City businesses that believe a flourishing arts community adds vibrancy and economic value to the neighborhood.
Open Studios Participating Artists:  Chuck Baxter, Stephen Benedicto, Jane Cave, Michael Crossett, Brand Dave, 
Indira Marin Dingledine, Charlie Gaynor, Arthur Kwon Lee, Miguel Perez Lem, Andrew Lisi, Lucinda Friendly Murphy, Betto Ortiz, Mark Parascandola, Brian Petro, Marie Ringwald, George H. Smith-Shomari, and Robert Wiener.

Tuesday, April 11, 2017

The Board of the Zenith Community Arts Foundation (ZCAF) is sponsoring its Second Annual Silent Auction Fundraiser Event. 

This year’s Fundraiser will be held on Sunday, May 7, 2017, 5:00-8 PM at The Washington Ethical Society, 7750 16th St NW, Washington, DC 20012.  

They are asking for your support so that they can continue the success of their After School and Community based Arts Programs. These programs include our “Hands On Workshop” (HOW) for the Columbia Heights Education Campus (CHEC), a DCPS program and the Hands On Workshops now under the grantor, for Middle School (12-15) High School (16-18) and Young Adults (18-24).

Monday, April 10, 2017

The curious case of the blowback on the City Paper's Nesbett interview

As first detailed in this post, it all started a while back with DMV artist Barbara Januszkiewicz  noticing and asking a Facebook question about the annual Washington Projects for the Arts fundraising Gala auction (disclaimer: I’ve been part of this auction multiple times in the past). You can catch up on that issue/question here.

I then commented on Nesbett’s answers in this post, essentially noting that Nesbett had missed a golden opportunity to use the Facebook commenting as a perfect way to start a constructive dialogue with the WPA’s artists’ members. Instead he doubled down on his perception that the Janus Facebook post was as triggered as result of Barbara’s personal issues with him, and his public criticism of her work. You can read that post here.

Following the Capps’ interview, the Facebook attention shifted to what many commenters considered Nesbett’s massive foot-in-mouth answer and inexplicable introduction of the race and age card into the discussion.

And not for the first time… cough, cough… DMV artists also began to find issue with Capps’ interview, which many opined only showed one side and failed to present a response from the person (Barbara J) who was essentially being somewhat attacked with claims of aggressive emailing (to Nesbett).

Criticism of Capps’ article mounted in several comments, as well as some defenders, one noting that:

That’s a great point, which shifts Capps’ interview flaws (more on that later) by highlighting the fact that it was via this WCP interview that Nesbett truly stepped on his crank big time.

As I myself noted in the FB comments, I think that the main issue with Capps’ interview is that as soon as (in a "subjective" newspaper article… awright, an “interview”) a point of view (in this case from the interviewee) says something or claims something (or in this case: accuses) about the other side (in this case a person... in the Capps' case Nesbett about Barbara's "aggressive emails") , then one would expect the journo to approach the second person and see about the triggering comment/accusation (is this true Barbara???)

Especially since Barbara’s has stated in various FB comments and separately that this allegation is false, and yet, no one contacted her to verify or get her comments on what Nesbett claims was the main trigger point for the complaint (sour grapes).

It is bad journalism, but arguably passable for just an "interview"by a freelancer done for fifteen bucks… cough, cough.... I can't jump on Capps too much for this... but it is a missed golden opportunity!

Especially when compared to this article in the HudsonValley-Times, where writer Paul Smart does a brilliant job of reporting on Nesbett’s strange experience with the  Woodstock Byrdcliffe Guild.  It is not an interview, of course, but Smart does a damned good job of documenting all the strange allegations against Nesbett as well as his point of view and responses. That article ends with the Guild’s President noting that “It’s frightening for me to think of how many people out there were frightened by his words…”

Sunday, April 09, 2017

Saturday, April 08, 2017

The Last Picasso

"Picasso" by F. Lennox Campello  Limited edition stone lithograph, c. 1980. 5x5 inches.  Done as an assignment at Univ. of Washington School of Art.
"Picasso" by F. Lennox Campello
Limited edition stone lithograph, c. 1980. 5x5 inches.
Done as an assignment at Univ. of Washington School of Art.

Friday, April 07, 2017

Jobs in the Arts

Assistant Director

The Maryland-National Capital Park and Planning Commission is seeking an Assistant Director at the Brentwood Arts Exchange. Under general supervision of the Director, performs a wide variety of professional work to assist in managing a multi-faceted arts facility that includes a gallery, concerts, youth and adult classes, and fine craft retail. Performs numerous tasks in support of the following job functions: supervises facility operations; participates in planning, organizing and implementing community based arts programs; provides marketing, public relations, and volunteer coordination; assists in exhibition installation; participates in budget formulation; supervises designated staff; maintains administrative records cash reports; coordinates externally and internally to perform special project work in surrounding communities; serves in the absence of director; performs other related duties. Facility operates six days per week. Works varying hours, which may include extended hours, evenings, and weekends.

This is the direct website here.

This is the shorter URL for the job search page, but the job isn’t listed under Arts, it’s only under Facility Management.

Gallery Assistant

The Brentwood Arts Exchange is seeking a motivated individual who is passionate about the arts for a part time position as a Gallery Assistant. Job duties include but are not limited to the following:
· Providing customer service in person and over the phone including retail sales and class registrations
· Assisting with installation of art exhibitions, including basic wall patching and painting, basic art handling and packaging.
· Routine office duties such as, copying, filing, data entry, and record keeping
· Hosting at special events
· Maintaining the cleanliness of all areas of the facility, set up and clean for classes and events

This is an entry-level position with no experience required. The position holder must be able to lift and move up to 25 lbs. and be available to work evenings and weekends. The successful candidate will be outgoing and self-motivated to learn about gallery operations through hands-on work performing the duties above. Positive qualities in consideration for this position include the ability to communicate in Spanish, experience working in a retail environment, knowledge of craft media and techniques, and familiarity with the safe handling of art objects.

Email a resume and a brief cover letter to Phil Davis, Director

Thursday, April 06, 2017

Call for Artists: VSA Emerging Young Arts Program

Deadline: 5/3/17

Apply here

About VSA Emerging Young Arts Program
Since 2002, the Kennedy Center and Volkswagen Group of America have teamed up for the
VSA Emerging Young Artists Program, a Jean Kennedy Smith Arts and Disability Program, to recognize and showcase the work of emerging young artists with disabilities, ages 16-25, who are residing in the United States.
Electrify! Theme
Art should excite our senses, awaken our curiosity, and electrify our very being. It has the ability to invigorate and empower the artist and viewer alike, but just as important, art can spark empathy and ignite understanding. We’re seeking artwork that is charged with ideas, art that acts as a conduit for creative reflection on the past, explores the “now,” and invokes a future full of possibility and inclusivity. 

Fifteen winning artists share a total of $60,000 in awards. Grand Prize is $20,000, First Prize is $10,000, Second Prize is $6,000, and the remaining Awards of Excellence are $2,000 each. Winners will exhibit their selected artwork in a year-long, nationally touring exhibition, and attend an all-expenses-paid professional development workshop in Washington, DC.

Application Process
The applications deadline is May 3, 2017 and winners will be announced in mid-June, 2017. Artwork will be judged by a panel of experts in the field of visual arts who will be looking for artwork that demonstrates a high level of skill, expresses original ideas, and reflects the Electrify! theme. To request an accommodation or receive the application materials in an alternate format, contact Anne-Marie Walsh,, at least two weeks prior to the submission deadline.
- Artist must be between the ages of 16 and 25 on May 3, 2017 at 11:59 pm.

- Artist must reside in the United States.
- Artist must have a disability as defined by the Americans with Disabilities Act. Note: artist must be comfortable identifying as a person and artist with a disability.
Selected applicants will be asked to submit documents proving the above eligibility requirements prior to advancing to round 3 of adjudication. Eligibility documents include the following:
Proof of disability
This is usually a letter from a doctor or other healthcare professional identifying the applicant’s disability(s). The document does not have to be recent but must state the nature of the disability. Other proof of disability is accepted, such as a statement from a reputable disability association or organization, professional counselor, Individualized Education Program (IEP) documents, or a letter from the head of the IEP team.

Proof of Age
Provide a copy of a government issued ID, such as a passport, birth certificate, or driver's license. To be eligible you need to have been between the ages of 16 and 25 on May 3, 2017.

Proof of US Residence
You do not have to be a US citizen, but you do need to be residing in the United States. Proof of US residency could be a letter from a teacher or professor, a lease or utility bill in your name, a note from an employer, or another official document indicating that you are currently living in the United States.

Other Requirements
- Artwork submitted must be completed within the last 3 years, and after the onset of disability.

- Previous Emerging Young Artist Program award winners are not eligible to apply.
- Submitted artwork must be able to withstand handling, storage, and transportation.
- 2-Dimensional artwork cannot exceed 60 inches in height or width.
- 3-Dimensional artwork cannot exceed 48 inches in any direction when packed for shipping.
- All art forms eligible including but not limited to painting, drawing, sculpture, photography, textile, video, and digital.
- Applicant must be the sole creator and owner of all artwork submitted.
- Work that suggests visual plagiarism, such as direct copy of another artists’ work, will not be accepted.

Tuesday, April 04, 2017

Washington Glass School Job Opportunity

From the Washington Glass School:
Washington Glass School is excited to announce the hiring of a new full-time glass studio manager.  Warm Glass Studio Coordinator
WGS seeks a creative and energetic manager and teacher for a kiln cast glass studio in Mt. Rainier, Md. right outside Washington, DC.  Washington Glass School is a private art studio which focuses on warm glass and mixed media sculpture. 
The glass studio has several missions: 
1) Engaging the surrounding metro area with large scale community involved public art works.
2) Teaching kiln casting classes and others that support our sculptural mission. 
3) Production work for several artists who are based here, including acrylic /resin casting and mold making. Candidate cannot be allergic to these.
The Glass Studio Manager will be responsible for communicating with all of these audiences and ensuring that the studio is serving their needs.
We are looking for someone who is equally excited about glass education, mold making, acrylic casting, glassmaking, and managing and promoting the studio. The Glass Studio Manager should be self-starter who can independently manage studio activities, as well as collaborate closely with WGS’s staff on an overall strategic vision for the organization and its execution in the glass studio. 
• Serve as a public face for WGS: act as primary liaison for renters, answer calls and emails about studio, interact with visitors, and attend events on behalf of WGS
Oversee all activities in the glass studio, including managing studio calendar, scheduling and working with renters, designing and managing classes and demos.
• Manage and assist several artists principles with their work
• Travel to international art fairs to represent WGS artists, with duties including show set-up, sales, packing, shipping, and take down 
• Manage studio inventory and purchase materials and tools as needed
Help oversee and fabricate large scale public art pieces, including community involvement workshops
Attend weekly staff meetings and monthly teaching artist meetings 
• BA or BFA with a concentration in glass or life experience equivalent
* Experience managing a glass studio would be helpful
• Understanding of a range of kiln making processes.
• Good written and oral communications skills; ability to interact with all of the audiences at WGS. Intelligence is better than brawn!
• Ability to work as a part of a team while working independently on projects to meet multiple deadlines
* Candidate should very much want to further their own art career and would benefit from their time here. 
* Metal welding, acrylic casting and electronic wiring background would be helpful, but candidate can be trained in this.
* Speed is of the essence here on projects. Speed, staying on task and attention to detail are paramount. Hopefully someone who will treat each work as their own for quality control.
The Glass Studio Manager is a 35/40-hour/week position, including some evening and weekend events. Salary is commensurate with experience. It includes both an hourly salary and teaching bonuses. This is an extremely busy studio. Much of our work goes straight from here to galleries and museums. 
As tough as this job can be, there are rewards as well. Benefits include health insurance and kiln time at WGS as well as use of all equipment and a dedicated work area for your own art. Access to all equipment and materials at cost. 
WGS is an equal opportunity employer and does not discriminate based on race, color, religion, sex, national origin, age, disability or genetics.
To apply, please submit a cover letter telling us why you might be a good fit, your resume, and images of past work to

At the Katzen

April 6 at 6 PM

Hosted by the Embassy of El Salvador, the evening includes remarks by Ambassador Claudia Ivette Canjura de Centeno, a discussion with the artist Frida Larios, and a reception with tastes of Central America.

Monday, April 03, 2017

The curious case of the WPA and the race (and age) card

A while back, I discussed the curious case of DMV artist Barbara Januszkiewicz posing a question on Facebook about the Washington Project for the Art's Gala auction - a question which then received several hundred comments from all sort of DMV area artists and a rather harsh one from the WPA's Executive Director; you can read that post here.

In his response, Peter Nesbett (the WPA's ED) included this comment:
Also it is worth noting to the rest of you that the O has a bit of an axe to grind with me because when pressed by her on numerous occasions to visit her studio and to take a group show she had curated (that included her own work), I told her that I didn't really understand what she was up to in her work because it seemed to ape the work of others a-critically, and for that reason I didn't understand its value. So that is possibly what spurred her post. Who knows. I think it is important to be honest with each other so we don't waste each other's time.
Like many other commenters on the Facebook comment thread, I took exception to Nesbett using that public forum to personally criticize the originator's artwork, and suggested that he should (a) apologize to Barbara Januszkiewicz and (b) use the opportunity presented by the hundreds of commenters to perhaps host a discussion forum on the issue and involve the artist members of the WPA in a constructive dialogue. I noted in the FB comments:
With all due respect, I am a somewhat disturbed that the director of an artists' driven organization takes an open forum to personally criticize the artwork of one of its members - who by the way, as the intense series of comments testify to, has asked a very valid and clearly "needed" question. That is, if one is to judge that by the passion of the comments and thoughts. But what bothers me is that were one to also mimic your viewpoint of "ape the work of others a-critically", then I'd challenge anyone with a simple understanding of art history to not "see" a dozen artists in any and every group show on the planet, any major art fair, and any WPA Gala, regurgitating the concepts and ideas of others who came before them, which in an era of postmodernism - where anything and everything is art - I thought was not an issue... In fact it is often refreshing, as when in this year's WPA Gala I see Chuck Close, Basquiat, Jerry Uelsmann, Goldsworthy, etc. being channeled into new work. It is clear to me that this question poses an opportunity for the WPA to host a panel/discussion on the subject, and it is also clear to me that you owe Barbara Januszkiewicz an apology for angling the discussion to a personal angle... Respectfully, Lenny Campello
Subsequently, at least two local art establishments (Artists and Makers' Studios and Otis Street Project), volunteered their spaces to host a discussion on the subject.

By the way, local artists complaining about the role of the WPA in the DMV is hardly new - as Michael O'Sullivan noted in this 1997 Washington Post story:
[An arts promoter and a jewelry maker] approached a reporter with a press release, revealing that the exaggerated bidding was the scheme of 42 local art supporters, each of whom had ponied up $20 in an attempt to draw attention to their claim that the WPA and its auction have strayed from the original mission."In the past," the statement read, "The Washington Project for the Arts (WPA) seemed focused on promoting new art and artists not represented by galleries. The auction was an excellent way to showcase these new artists while engaging the public's participation. Unfortunately, we now see almost the same artists and collectors year after year."
In addition to the lack of new blood, the consortium also complained about the auction's steep new $125 admission price, which kept many of its members from participating.
"This is about inclusivity and emerging art. It's not about Erick Jackson or artificially inflating the price of his work," said [one of the organizers], who along with her husband... came up with the protest as a form of "conceptual art."
Back to the present: Triggered by the sheer amount of comments on the issue, the Washington City Paper's art scribe and fan boy of the DMV art scene, Kriston Capps interviewed Nesbett on the auction issue and the artists' reactions to it. In the original post, Capps incredibly managed to somehow skip over or miss the row over Nesbett's comment that Januszkiewicz's motive for the post was possibly related to Nesbett ignoring her work/request for a studio visit.
Thus, when the WCP interview was noticed by the FB commenters, it was immediately noticed (and commented on) that Capps had missed 50% of the issue... someone must have brought this up to the attention of the former Grammar Policeman, because subsequently an expanded interview included this question as the first question:
City Paper: Some artists in the Facebook community are upset about a critical exchange you had with Barbara Januszkiewicz, an artist in the area. You said that she had an "ax to grind with me" and that "I didn't really understand what she was up to in her work" in comments. Do you think you crossed a line?
Peter Nesbett: No, I don't. There are a few reasons.  
I don't see why having an opinion about an artist's work is a problem. I know most arts professionals would keep opinions or comments like that to themselves. That is their right. But I prefer more candor. 
I shared a series of exchanges [Barbara] and I had. She was rather aggressive with me over the course of six months about doing a studio visit with her, and showing her work, and I was very frank with her that I didn't understand how her work was anything but the aping of others' work from decades ago, with irony or critical conceit, and so I wasn't interested. She didn't like that. Still I don't want to set up up any false expectations—I want people to know where I stand so we don't waste each other's time. 
The most outspoken people on the Dotted Line are people whom I have either declined studio visits with—I am not going to do them simply as a courtesy—or they are the spouse of a former employee who I let go. I think it is important that people recognize that the motive on there end stems from a place of personal disappointment. 
Finally, have you noticed that nearly everyone who has been critical of the auction or WPA is older and white, and yet they claim to be speaking on behalf of the D.C. artist community? I actually don't think they represent the D.C. artist community today. At least not the communities I have been most involved with or interested in. Those communities are much more diverse.
So instead of apologizing for his interpretation of what had caused the avalanche of comments on the WPA Auction issue, Nesbett doubled down on his perception of the reason for Barbara's posting and repeated his unwarranted negative critical response to her work.

But then, in my opinion, he extended the discussion into a whole other realm, when he makes the completely unexpected and insulting claim that "nearly everyone who has been critical of the auction or WPA is older and white, and yet they claim to be speaking on behalf of the D.C. artist community?"


The race card (combined with the age card) makes an appearance on a discussion about the multiple inclusion of out of area artists for a local artist-driven organization!
There's so much wrong and offensive about this, that I don't know where to start... so instead I've copied what an artist in the comments' thread (who's neither white nor old) emailed me; the artist notes that:

1.Peter solicited and offered to meet with artists in the local community.
2.Barbara has stated that she contacted him with only one email inviting him to her studio. He declined and therefore never saw her work nor engaged in a personal conversation. There has been no proof of an aggressive solicitation as claimed.
3.An online question was posed regarding the auction and it was not directed at any party. It was intended as an invitation for artists to voice their concerns/opinions and to engage in community dialogue.
4.The intent of this forum was not intended to engage in personal attacks.
5.Age nor race was not an issue raised by the artists
6.Anyone who engages in the practice, procurement, sales, promotion, curatorial, purchase, review of art,  etc. should be recognized as a valued member of the art community regardless of age, gender, race or sexual orientation.
7.Personal attacks and harsh public criticism of an artist’s work and value is unwarranted.
8.‘Aping’ the work of an artist in a city that paints its streets with stripes should not be an acceptable value judgment.

Personally, now I think that Nesbett has stepped over a separate line from which there's no apology, and the maelstrom of commenters are now discussing a much harsher response to the WPA than the lost opportunity to engage the artists on a constructive dialogue.

Frankly, I am lost as to why Nesbett went on this race/age card angle? It wasn't needed, and from seeing the names of the artists involved in the hundreds of comments, it is also inaccurate.

As one commenter dryly noted: "I wonder if he feels the same about the demographics of collectors??"

What next?