Tuesday, June 05, 2018

Honoring the Life and Legacy of the late Norman Parish (1937-2013)

From Millenium Arts Salon:
  1. The records of Parish Gallery are now part of the National Archives of American Art and can be accessed online here: https://www.aaa.si.edu/collections/parish-gallery-records-17390?utm_source=dailycampelloartnews .  The Archive includes information about the Gallery’s exhibitions between 1991 when the gallery was established by Norm (as he is affectionately called) until 2013 after his untimely transition. From online you can review background and historical information and browse the list of exhibitions -  beginning with the Gallery’s Grand Opening exhibition to its last exhibition, “Norman Parish – The Artist.”  The Archive includes biographical information about Norm, administrative records, and other details.  There is the option to select and view detail records on site, as well as request printed copies of selected files. 

  1. The Art Institute of Chicago just acquired one of Norm’s paintings! The painting now hangs at the Institute and we understand will be in close proximity to the exhibition, “Charles White:  A Retrospective,” which opens at the Institute on June 8th.  Norm named the work, “Black Pride Whitewashed” (see image attached), which symbolizes the “Wall of Respect,” a 1967 mural on the South Side of Chicago created by artists associated with the Organization of Black American Culture (OBAC) to celebrate Black Heroes and promote civil rights of African Americans in Chicago.  Norm was one of the artists who created the mural.  The title “Whitewashed” refers to an incident where Norm’s portion of the mural was whitewashed by another artist who wanted to be included.  The building was demolished a few years later after a fire.  You may have heard Norm speak about “the Wall” during his reflections about black art and its inspiration for positive action and change.  It is very fitting that over 50 years after the Wall, Norm’s work would hang in the prominent Art Institute of Chicago, where he graduated with a degree in art, and in the city he called home for over 30 years.

Gwen and Norman Parish III (Norm’s son) have worked tirelessly since the gallery’s closing to enable the Smithsonian and The Art Institute of Chicago to acquire these important documents and art work – Gwen worked with the Smithsonian Archives and Norman Parish III with the Institute.  These two phenomenal accomplishments seal Norman Parish’s legacy – he is one of the greatest artist, social activist, and human beings of our time!
I was Norm's neighbor in Canal Square for over a decade and can testify not only about the greatness of this human being, but also about what a supportive, really nice guy he was. 

Monday, June 04, 2018

Remembering an elegant tree

Two years ago my courageous mother died... this is my eulogy from that day:
When my father died last year, I began his eulogy by noting that another oak had fallen.

This morning, around 1:25AM, Ana Olivia Cruzata Marrero de Campello, his wife of over 60 years, and my beloved mother, passed on on the day of her 97th birthday.

If my father was an oak, then my mother was an equally strong, but also very pliable, and elegant tree.  When hurricanes attack the mainlands of the world, the strong tall trees often fall, but the pliable ones, like plantain trees, always give with the wind, and survive the storms, and thrive in the drenching rains.

My mother was like a an aged plantain tree, not only immensely strong and pliable, but also giving and nurturing.

Like many Cuban women of her generation and her social-economic background, she had never worked for a living in Cuba, and yet within a few days of our arrival in New York in the 1960s, she was working long hours in a sewing factory, putting her formidable seamstress skills, honed in the social sewing and embroidery gathering of young Cuban girls, to use in the "piece work" process of the New York sewing factories.

As soon as we saved the money, one of the first things that my mother bought was an electric sewing machine - a novelty to her, as she had always used one of the those ancient Singer machines with a foot pedal.

I remember as a child in Brooklyn, that women used to bring her fabric and a page from a magazine with a woman wearing a dress. Without the benefit of a sewing pattern, my mother would whip up a copy of the dress that was more often than not probably better made than the original. As the word of her skills spread, so did her customers and soon she was making more money working at home than at the factory - but she kept both jobs.

I once noted to her that I admired the courage that it must have taken her to leave her family and immigrate to the United States. "We didn't come here as immigrants," she corrected me. "We came as political refugees, and I initially thought that we'd be back in Cuba within a few years at the most."

When the brutal Castro dictatorship refused to loosen its stranglehold on her birth place, she became an immigrant, and from there on an American citizen from her white-streaked hair down to her heel bone (that's a Cuban saying). Like my father, she loved her adopted country with a ferocity, that I sometimes feel that only people who have been bloodied by Communism can feel for a new, free homeland.

As as I've noted before, Cubans are archaic immigrants... we love this great nation because we recognize its singular and unique greatness; perhaps it is because our forebears had the same chance at greatness and blew it.


I remember as a teenager, once I started going out to parties and things at night on my own (around age 16 or so), that my mother would wait up for me, sitting by the third floor window of our Brooklyn apartment, where she could survey the whole neighborhood and see as far as the elevated LL subway station a few blocks away, to watch me descend the station stairs and trace my way home.

My mother was always fit and, as once described by my father, "flaca como un fusil" (as slim as a rifle). She was strong and fast. She was also quiet, but never silenced, and when needed, could and would command attention.

My mother was always well dressed and superbly coiffed. When we'd go to parties and events, women would always ask her where she'd gotten that dress! The answer was always the same: she'd made it!

At least once a week, to my father's dismay, and in spite of his demands that my mother stop it, she'd get her hair done at the nearby peluqueria (hair dresser).

My dad knew, and respected his limits with my mother. 

I remember one time that my father and I were returning from shopping at the supermarket, dragging one of those wheeled folding carts that could carry four full paper grocery bags. It had been snowing, so the Brooklyn streets were wet and muddy.

When we got to our apartment my father opened the door. He then stood there.

"Go in!" I demanded.

"We'll have to wait," he said gloomily, "Your mother mopped the floor and it's still wet." This giant, tough, street-brawling Galician then looked at me sheepishly, "I'd rather walk through a mine field than step on your mother's wet floor."

I learned a lesson there.

She used to delight in telling stories how, as a child, she would often win the horse races that kids staged around the small country towns where she was raised in Oriente province, where her father was a Mayoral.

"I almost always won," she'd say, and then would add: "Even though I was a skinny girl."

Once, in her seventies, back in the days where you could actually accompany people to the departing gates at airports, we were escorting my oldest daughter Vanessa, who had come to visit, and we were running late. As we got to the airport, we ran to the gate, and to everyone's surprise, Abuela got there first. I still remember how delighted my daughter was that her grandmother could still run like a gazelle.


When I joined the Navy at age 17, my first duty station was USS SARATOGA, which at the time was stationed in Mayport in Florida, and thus my parents decided to migrate south to Florida and moved to Miami... just to be close to me.

They spent the next 40 years in the same apartment while I was stationed all over the world.

The mostly Cuban-American families that lived over the years in that apartment loved my mother, and would always tell me stories about my mother, ever the nurturer, bringing them food when she knew that they were going over tough times, or riding the buses with them, just to show them the routes.

This week, when I arrived in Miami, already somewhat knowing that this was approaching the end, I saw her with tubes coming out of her mouth and her eyes closed. When I spoke to her she opened her eyes, and in spite of the visuals that my eyes were seeing she somehow still managed to look strong. 

I showed her photos and movies of her grand children, and talked to her for a long time.

I thanked her for having the courage to leave her motherland and afford me the opportunity to grow as an American.

When she was being extubated, a young woman came into the room with a guitar and played and sang the haunting free prose of Guajira Guantanamera (The peasant girl from Guantanamo); a most fitting song, since my mother was from Guantanamo, and she came from strong Cuban peasant stock.

"Guajira pero fina (A peasant, but a very refined woman)", noted a neighbor and loving caretaker. 

The song, which can start with just about any prose, started with the Jose Marti poem:
 Yo quiero, cuando me muera, sin patria, pero sin amo, tener en mi tumba un ramo de flores y una bandera
I want to, when I die, without my motherland, but without a master, to have on my tomb a bunch of flowers and a flag.
She died without a master, a strong and pliable woman who not only gave me the gift of life, but also the gift of freedom.

And as my mother died in her sleep in the early hours of the morning, in the capital city of the bitter Cuban Diaspora, all that I could gather to say to her was mostly the same that I said to my father when he passed last year: "Thank you for your courage... from me, and from my children... and soon from their children. You opened a whole new world for them."

I love you Mami... Un Abrazo Fuerte! Thank you for your gifts to me and my children, and happy birthday in Heaven!

Sunday, June 03, 2018

Call for tiny art


HOW TO ENTER
Create teeny tiny art — all mediums are welcome.

Click the image above on this page between June 4 and June 17, 2018, upload a photo of your piece, and complete the submission form. Open to US residents, ages 18 and older. Limit one entry per artist.

JUDGING CRITERIA
Judges from Artprof.org will be looking for strong cohesion in both technical execution and presence of a core concept, and how they work together to form a visually commanding presence. They will also consider the originality of the idea, innovative engagement of the materials used, and bold artistic vision. 

Small in format art sizing guidelines: artwork should under 14" in any one direction. Sculpture should fit inside an 8"x8"x8" cube including the base. 

Saturday, June 02, 2018

Ric Garcia at Stone Tower Gallery at Glen Echo Park

The beautiful and historic Stone Tower Gallery at Glen Echo Park will host an artist reception for Ric Garcia and his most recent body of work. The event is free and kid friendly with light fare.

Sat, June 9  |  6 PM - 8 PM

Glen Echo Park Partnership for Arts and Culture
7300 MacArthur Blvd, Glen Echo, Maryland 20812

His work explores how American culture past and present portrays gender when communicating stories about social structure, identity, and morality. Who has been the traditional hero or heroine of those stories? How do new and changing roles affect the narrative and impact of these stories?
--------------------------------
Contact
RicGarciaStudio.com
703-785-6832

Studio Store
https://squareup.com/store/ric-garcia-studio-store?utm_source=dailycampello

Location
RicGarciaStudio@passaways artist studios
6001 66th Ave #201, Riverdale, MD 20737

Friday, June 01, 2018

Are contractual agreements between artists and galleries necessary?

On Wednesday, June 13th from 11:00 AM - 11:45 PM ET, join Artsy’s General Counsel Yayoi Shionoiri for an informational session and discussion about gallery-artist agreements.

Register today to reserve your spot »

What they’ll cover:
  • Why gallery-artist agreements are important
  • What do Consignment and Loan Forms cover
  • Advice on navigating artists who self-market
  • Your questions, answered live!
If you’re not sure if you can attend the webinar live, register and you’ll receive the recording afterwards.

Thursday, May 31, 2018

Weekend art listings

Courtesy of East City Art!

Friday, June 1

Gallery Underground – 5 p.m. to 8 p.m.
Glen Echo Park Partnership – 6 p.m. to 8 p.m.
Touchstone Gallery – 6 p.m. to 8:30 p.m.
Artists & Makers Studios 1 and 2 – 6 p.m. to 9 p.m.
Corner Store – 6 p.m. to 9 p.m.
IA&A at Hillyer – 6 p.m. to 9 p.m.
Arts Club of Washington – 6:30 p.m. to 8:30 p.m.
VisArts – 7 p.m. to 9 p.m.
VisArts – 7 p.m. to 9 p.m.
DC Arts Center – 7 p.m. to 9 p.m.

Saturday, June 2

Arlington Arts Center – 1 p.m. to 3 p.m.
Wohlfarth Galleries – 4 p.m. to 6 p.m.
Studio Gallery – 4 p.m. to 6 p.m.
Addison/Ripley Fine Art – 5 p.m. to 7 p.m.
Foundry Gallery – 5 p.m. to 7 p.m.
Susan Calloway Fine Arts – 5 p.m. to 8 p.m.
TAG/The Artists Gallery – 5 p.m. to 9 p.m.
Adah Rose Gallery – 6 p.m. to 8 p.m.
Yellow Barn Gallery – 6 p.m. to 8 p.m.
Gallery 102 – 6 p.m. to 8 p.m.
WAS Gallery – 6 p.m. to 9 p.m.

Sunday, June 3

Washington Printmakers Gallery – 12 p.m. to 5 p.m.
Danny Schweers Those Who See Slowly (Read More)
Greenbelt Community Art Gallery – 1 p.m.to 3 p.m.
Anna Fine Foer Collide-o-Scope: Collages (Read More)

Wednesday, May 30, 2018

Art fair coming to the District

The District has attempted to host international art fairs in the past... artDC was staged one year at the convention center (about a decade ago) by the same people who run Art Miami and Art New York. Then the (e)merge art fair rans for a few years at the Skyline Hotel...

The following is from the press release from Superfine! DC:
Why a Superfine! fair in DC?

That's the question many of you have been asking. Why exhibit in Washington DC when I can show in New York, Los Angeles, or Miami? Well, you can. We're launching an LA show next spring, revisiting Miami Art Week in 2019, and launching applications for not only our May New York fair but a second fall show as well. Even London is on our 2019 radar, giving new possibilities to jump the pond and interact with a collector base there. However, we believe strongly in Superfine! DC and want to invite you to join us in the capital this fall for what promises to be a banner inaugural fair.

The Art Market is Here

There are countless ways to be a part of the Superfine! revolution but to overlook DC is to miss a terrific opportunity to be at the forefront of something new and fresh in a city hungry for a contemporary art fair to call its own. Superfine! DC is not merely an afterthought on our calendar but the culmination of a two year search to find the perfect city for not just any art fair, but our own specific take on the fair model: transparent, approachable, and most of allfair. We look for a market that holds not only an affluent and existing collector base, but also a highly educated young professional market with high disposable income - all attributes that DC has in spades, and the reason we're so confident that our formula will resonate.

Tapping Into the Cultural Core

A smaller but still highly culturally relevant city like Washington DC affords us the opportunity to own not only 100% of the art-related digital impressions in a city (New York's fair boasted 78.5 million of them), but to establish deep and lasting partnerships with major art + culture institutions. From the Smithsonian's Hirshhorn Museum to the National Museum of Women in the Arts, Superfine! DC is a week-long hub for all of the capital's cultural institutions and their supportive audiences. A 50% makeup of DC-area-based galleries and artists cements our position as DC's own art fair.

Take a look at our recently updated floor plan with improved flow and sight lines for each exhibitor, and consider joining us on this next great adventure.

Tuesday, May 29, 2018

Coolest art call ever!

The City of Pompano Beach is looking to commission an artist/artist team to design and fabricate a sculpture that will be displayed at the beach for a one year. After a year, it will be submerged into the ocean and attached to Lady Luck in shipwreck Park.

Lady Luck is a 324 foot tanker vessel that was sunk on July 23rd, 2016 as an artificial reef 1 ½ miles off Pompano Beach’s shore. This ship is one of the biggest contributions to Florida’s artificial reef system and one of the most easily accessible major dive sites in the nation. The ship is the centerpiece of what is known as Shipwreck Park, surrounded by 16 other existing wrecks covered with marine life. Shipwreck Park is a unique underwater cultural arts park with rotating underwater art exhibits. The ship includes specific themes, exciting underwater events, artwork and rotating art exhibits to create a unique dive experience for local and international tourists.     

No entry fee!

BUDGET:              $35,000
DEADLINE:          July 2, 2018


Monday, May 28, 2018

Downtown BID Call Box Project Request for Proposals

Deadline: July 18, 2018

The DC Downtown BID is seeking multi medium visual artists that can include but are not limited to Fine Artists, Street Artists, Graffiti Artists, Metal Workers, and Graphic Artists to design, submit and fabricate original designs to be installed on individual call boxes located in the Downtown area of the District of Columbia. Selected artists not currently residing in the District of Columbia will be required to have a District artist as a project assistant on the instillation.

There are 27 call boxes located downtown. The BID is seeking designs for 9 call boxes in 8 locations.

No entry fee!

Details here.

Sunday, May 27, 2018

2019 Maryland Individual Artist Awards

Apply Now! -- 2019 Maryland Individual Artist Awards

The deadline for 2019 applications is Wednesday, July 25, 2018 at 4:30 pm EST

Each year, the Maryland State Arts Council (MSAC) recognizes outstanding artistic achievement and honors the contributions artists make to our state through the Individual Artist Awards (IAA) program. IAAs are accompanied by grants of $1,000, $3,000 or $6,000 to help support artists as they advance their craft. 

The 2019 IAA application is now open to Maryland artists in the following categories: 

  • Creative Non-Fiction/Fiction
  • Media
  • Digital/Electronic Arts
  • Theater Solo Performance
  • Painting
  • Works on Paper

MSAC partners with Mid Atlantic Arts Foundation (MAAF) to administer the IAA program.
Applicants can access IAA guidelines, application, and application assistance resources by clicking the "Maryland" tab on MAAF's website. 
MSAC and MAAF will offer two webinars to guide IAA applicants through the application process. Advance registration is required. 
Thursday, May 31, 2018, 1:00-2:30 PM - Register here
Saturday, July 7, 2018, 10:00-11:30 AM - Register here
Questions about applying? Contact Kimberly Steinle-Super at kimberly@midatlanticarts.org 

Saturday, May 26, 2018

Regardless of the piece’s authenticity, Hahn v Duveen set a precedent for how vital refraining from wrongly attacking the reputation of an artwork can be. 
Read and learn - click here. 

Friday, May 25, 2018

The curious case of "Negligence and Reputation Management"

While Werner Spies is an example of an individual brought to court over this tort, auction houses can also get sued for negligence. Take, for example, the case of Dickson v Christie’s in 2010.
David Dickson and Susan Priestley sold “Salome with the Head of St John the Baptist” for £8,000 after an assessment by Christie’s determined the painting was from the school of Titian, and not the artist himself. However, Sotheby’s later sold the painting having assessed it as an original. It was put up for auction with a starting price of $4 million. Dickson and Priestley claimed Christie’s didn’t do the proper research in determining the painting’s correct origin and selling price. However, this case settled before trial.
Read the fascinating article here. 

Thursday, May 24, 2018

Opportunity for Artists!

Our friends at the Hyattsville CDC are looking for artists to submit designs to be considered for their traffic box art project. Selected artists will be paid a $500 honorarium and will have their art displayed on a traffic box along a major thoroughfare. 

This call is open to ALL artists, graphic designers, illustrators, and photographers who currently live or work within the State of Maryland. Submitted designs must be original artwork.

Details here.

Tuesday, May 22, 2018

Ric Garcia at Glen Echo Park

Ric Garcia

June 1 to July 1, 2018

Art Walk reception: June 1, 6­8 p.m.

Reception with artist: June 9, 6­8 p.m.

Glen Echo Park Partnership

7300 MacArthur blvd., Glen Echo, md
Stone Tower Gallery Hours: Sat.–Sun., 11 a.m.—6p.m.

Ric Garcia – You are not my Kryptonite  - 30 x 30 - oil on canvas
DC metro area artist Ric Garcia will exhibit new paintings, digital prints and mixed media works at Glen Echo Parks’ Stone Tower gallery in an exhibit titled “Super America”. The exhibit opens June 1 and runs through to July 1.  The exhibition is populated by iconic superheroes, atomic age monsters, and cinema icons—all portrayed in re-imagined ways with a bilingual context— and asks who has been the traditional hero or heroine of our stories and who gets to be the main character today.   

Ric Garcia sees his appropriation of American cultural images as a meditation on identity.  "I infuse my art with references to various mythos, focusing on hero worship, Latino and gender cultures, creating images about Americana filtered by my bi-cultural experience," Garcia says.

Monday, May 21, 2018

Barbara Januszkiewicz's two solos at once!

Not one, but two solo shows opening up at the same time for DMV artist Barbara Januszkiewicz. The Nitty Gritty at the Art Club of Washington will be displaying mostly works on paper appropriately name after her musical muses. 
Each work is titled from a song from the late 60s early 70s, with an “ip” in front of it. Januszkiewicz explained the ip means inspired by. This painter has taken her love for watercolors and has been able to reinvent acrylics in a new way.  Philosophically, Januszkiewicz values risk taking, experimentation, and creative collaboration which lead to  Washington Color Painter Paul Reed encouraging  Januszkiewicz to experiment with staining with acrylics. 
She has mastered this technique that offers the luminosity of watercolors, but with the nitty-gritty texture that only acrylics could offer. Also in this exhibit are some fine examples of her works on unprimed canvas using the same technique. What is astonishing is to witness her able to stain the unprimed canvas in the same manner as she paints on paper. This is not an easy task.  
"Music is my muse," she continues.  "I am inspired by the gritty undertones and rhythm patterns of the Blues and Rock.  I take the basic structure of a song’s chord progressions and play with the idea of a building a cord in the colors that I paint with.  Blending the music and corresponding color notes, I work to create luminous paintings that reflect the emotionalism and improvisational freedom that we find in music genres. I see my work as a frozen moment of the song." 

Across town at Martha Spak Gallery at the Wharf, Januszkiewicz is showing a group she calls Acoustic Fields. The artists explains that these are mostly large works, both on unprimed canvas and metal with resin.  Clearly her fascination for color reminds us of Mark Rothko’s Color Fields with her effortlessly produced zen-like brush strokes across her canvas.  Yet she is giving us something new and perhaps even changing our perception of the future of contemporary abstraction.  "I find it intriguing that there is a vocabulary of words that apply to both music and visual art, like movement, patterns, compliments, harmonies and layering," she says. These paintings from the intense color compositions to subdued shades of reverberations can visually  suggest the sensation of sound.
The Nitty Gritty @ Arts Club of Washington 
2017 I St. NW, Washington, DC 20006
Exhibition Dates: May 4 – May 26, 2018
gallery hours Tuesday - Friday: 10:00am to 5:00pm
Saturday: 10:00am to 2:00pm
Curator: Mattie Schloetzer

Acoustic Fields @
Martha Spak Gallery at the Wharf 
40 District Square, SW, Washington, DC  20024 
Exhibition Dates: April 30-May 29, 2018
Gallery hours are Thursday – Sunday 12-6pm 
Curator Martha Spak

Letter from Jack Rasmussen

Dear Museum Patrons,
I am thrilled to inform you that the American University Museum has been chosen as the recipient of nearly 9,000 works of art from the Corcoran Art Collection. If you have not seen last week’s announcement in the Washington Post, please see it here.
We plan to use this once-in-a-lifetime gift to establish The Corcoran Legacy Collection at American University. To give you a taste of this new collection, it contains some of history’s most masterful artists such as the 16th-century Italian painter Titian, American artists Ansel Adams and Helen Frankenthaler; 18th-century British portraitist Thomas Gainsborough, as well as important American collections such as those of William A. Clark and Olga Hirshhorn. 
In the spirit of our Alper Initiative for Washington art, we are very excited to expand upon our collection of 19th-century Washington art, with works from the Washington Color School and paintings by figurative artists such as Sarah Baker, Manon Cleary, and Claudia DeMonte. 
The gift will also supplement our collection of work by female artists and artists of color, in alignment with the legacy of the American University Art History department as a leader in feminist art history and the university’s commitment to diversity and inclusion. 
For those who are curious, you may view the complete listing of artwork and recipient organizations in the Corcoran’s May 14th press release here.
In order to prepare for the legacy collection at AU, the university has invested in a new storage facility that will be a home to works utilized most often by the museum, complete with rolling racks and shelving. We have also upgraded our collections management software and will be working with the registrars at the National Gallery of Art to incorporate the data on the new collection. 
With every great collection comes great responsibility. We still have much work to do! American University is seeking support through a funding initiative designed to further expand our storage capacity, enhance the museum’s exhibition space to accommodate the growing collection, and safeguard the Corcoran legacy for the greater arts community. We also aspire to create a collection viewing and study room to provide increased accessibility to scholars and visitors and new faculty and staff positions to care for the collection and ensure it is shared with the world through public program offerings. 
We will continue to update you as this project progresses and look forward to celebrating this transformational milestone with you! 
Jack Rasmussen 
Director & Curator
 American University Museum

Sunday, May 20, 2018

Sunny in Reston for the art fair!

Northern Virginia Fine Arts Festival, Reston, VA 2018
Northern Virginia Fine Arts Festival, Reston, VA 2018

Target Gallery’s Newest Exhibition Creates Utopic Fictional Landscapes

Caroline Hatfield: Unearthing
May 25 – July 15, 2018

Opening Reception: Friday, May 25, 7 – 9 pm; Artist Talk at 8 pm

Target Gallery, the contemporary exhibition space for the Torpedo Factory Art Center, explores concepts of utopia and the science-fictional sublime in a new solo site-specific exhibition featuring Baltimore artist Caroline Hatfield.

Caroline Hatfield: Unearthing is on view May 25 through July 15, 2018. In the show, Hatfield creates sculptural landscapes within Target Gallery. Composed of industrial materials like cast aluminum; rocks, coal, and other geological formations; as well as mutable boundaries like sand and salt, the combined objects accumulate into forms and recall a cycle of transformation. Through site-specific installations and photography, her work references the awe-inspiring natural experiences of our world while referencing a shift outward towards a science-fictional sublime.

Environmentalism and land use has a lot of personal significance to Hatfield, who grew up in a Southern Appalachian coal-mining community. They recall the region’s ironic juxtaposition of protected wilderness and mined land as a major influence on their work.

“This exhibition presents the idea of unearthing in a literal, metaphorical, and speculative sense,” Hatfield said. “The process of unearthing asks: What are we uncovering? We dig to find history, time, and energy. As a metaphor, it often refers to finding an elusive, hidden substance or truth. Finally, we could consider ‘un-earthing’ in a speculative sense. Our potential is becoming less tethered to this planet through scientific advancement and ecological destruction.”

Hatfield was selected from more than 150 applicants as part of Target Gallery’s annual Open Call for a Solo Exhibition. Jurors were: Jarvis DuBois, independent curator; Carolina Mayorga, D.C.-based artist; and Victoria Reis, co-founder and executive director of Transformer.

“Caroline Hatfield’s art speaks to timely environmental concerns of noticeable climate changes, fracking, and deforestation wreaking havoc across the globe,” said DuBois. “Their landscapes—created from untraditional materials such as aluminum powder, tar paper, sand, and coal slag—are otherworldly yet eerily reminiscent of terrains found after a natural disaster or in a science-fiction movie. They should be read as urgent harbingers of what could happen to our Earth if we continually neglect her.”

“Based on their individual experience of growing up in an Appalachian coal mining community, Caroline’s exhibition offers a unique perspective on issues affecting the environment and our relation to land,” said Mayorga. “Their work transforms the gallery space into powerful and aesthetically pleasing landscapes that comment on industrial practices and questions the viewer’s relationship with their immediate surroundings. I find Caroline’s work both personal and sincere, yet universally relevant to our current time.”

“I was immediately drawn to Caroline's very sophisticated and thoughtful use of materials to convey concepts of utopia and science fiction,” said Reis. “Caroline adeptly conveys an otherworldly experience that completely draws in audiences, taking us on a journey that is both wondrous and confounding. Their innovative re-contextualizing of current environmental circumstances through beautiful yet haunting installations provides an important and engaging viewpoint to our relationships with land uses and our evaporating natural resources."

Caroline Hatfield: Unearthing runs Friday, May 25, through Sunday, July 15, 2018. The opening reception will be Friday, May 25th, 7 – 9 pm, with Hatfield’s comments at 8 pm. Target Gallery will host a second reception and juror talk on Friday, June 15 at 8 pm, as a part of the Torpedo Factory Art Center’s monthly Late Shift event. Target Gallery is open daily from 10 – 6 pm and until 9 pm on Thursdays.

Saturday, May 19, 2018

My choice for Best of Show at Reston

Suzy Scarborough at Northern Virginia Fine Arts Festival
Reston Town Center, booth 231
and represented locally by Zenith Gallery!

Wednesday, May 16, 2018

This weekend in Reston

May 18--- 20, 10am--- 5pm 

The annual Northern Virginia Fine Arts Festival returns for its 27th year with some exciting updates! Balducci's Food Lovers Market joins this year as Title Sponsor; Festival Friday kicks off the weekend of activity; and the Festival Party is on Saturday night. Some things, of course, remain constant: the quality of the 200+ artists from 35 states; the enthusiasm of our fantastic crowds (typically averaging 30,000+); the phenomenal support of our sponsors; and the invaluable contributions of our nearly 300 volunteers.


2018 ARTISTS


Free parking is available on Friday, Saturday, and Sunday of festival weekend,
courtesy of Boston Properties.

Tuesday, May 15, 2018

Art Scam Alert!

This dweeb keeps trying to rip off artists by sending the same email with different originator emai address - don't fall for it!
From:  thomasfredy500500@cox.net 
Top of the Morning to you, I actually observed my wife has been viewing your website on my laptop and i guess she likes some of your art piece, I must also say you are doing a great job. I would like to know what inspired that work. I am very much interested in the purchase to surprise my wife. Kindly confirm the availability for immediate art work for sales.(Thomasfred500500@gmail.com) Regards Thomas

Monday, May 14, 2018

A disturbance in the Force

A written trademark assignment filed with the US Patent and Trademark Office in 2007 and obtained by The Art Newspaper seems to bear this out. Designating Kahlo as the assignor, represented by Pinedo through power of attorney, and the Frida Kahlo Corporation as the assignee, it transfers “full and exclusive rights, titles and interests” for a slew of trademarks for the name “Frida Kahlo” as well as the phrase “Pasion por la vida” (a passion for life) and Frida Kahlo-branded tequila. “It is expressly agreed and understood that if The Assignee is the owner of any other trademark application that includes the denomination ‘FRIDA KAHLO’, the instant agreement includes it,” the filing states.
Read the Art Newspaper article on the commodification of the Frida Kahlo trademark here.

American University Chosen to Receive Majority Share of Works from Corcoran Art Collection

Giant art news for DMV:
Under one of the largest free art distributions in U.S. history, American University Museum at the Katzen Arts Center, part of American University, has been offered nearly 9,000 works from the Corcoran Art Collection.   
“American University Museum is excited about the opportunities to share this rich collection with our students, scholars, the Washington community and beyond,” said Jack Rasmussen, director and curator of AU Museum. “This collection will enhance the museum’s longstanding commitment to exhibiting works by Washington, national and international artists who hail from diverse backgrounds and encompass many artistic styles and ranges.”
The proposed acquisition will include paintings, works on paper, photographs, sculpture and textiles. Works by history’s most masterful artists are represented including Pablo Picasso and Rembrandt. Other prominent artists include 16th-century Italian painter Titian, a contemporary of Michelangelo; German Renaissance painter and printmaker Albrecht Durer; American artists Winslow Homer, John Singer Sargent and Andy Warhol; 18th-century British portraitist Thomas Gainsborough; French Impressionist Charles Francois Daubigny; and American sculptor Louise Nevelson.  
Many other works are by both modern and contemporary Washington artists, including members of the Washington Color School and figurative artists Sarah Baker, Manon Cleary and Claudia DeMonte.
AU Museum, the largest university-affiliated art museum in the Washington metro area, is committed to displaying Washington art. A gift in 2014 from AU alumna and Washington artist Carolyn Alper established the Alper Initiative for Washington Art, which created dedicated space for the display of work by historical and contemporary Washington artists. Working in tandem with the Alper Initiative, Rasmussen focused on identifying and selecting artists significant to Washington art history.
“William Corcoran’s dedication to presenting works by American artists led to his collecting an exceptional body of 19th-century art from Washington D.C., representing the simultaneously national and local identities of art in the emerging capital city,” Rasmussen said.
In addition to 19th- and 20th-century American art, the proposed Corcoran gift would supplement the museum’s collection of work by female artists and artists of color, in alignment with the legacy of the American University Art History department as a leader in feminist art history and the university’s commitment to diversity and inclusion.

Finally, the AU Museum has been offered the bulk of the Corcoran’s famous works on paper collection, where it would be preserved nearly in its entirety. AU Museum’s willingness to maintain the integrity of important American collections, such as that of William A. Clark, Olga Hirshhorn and many others, will provide opportunities for scholarship and exhibition for years to come.

American University has invested in a new storage facility in AU’s Spring Valley Building at 4801 Massachusetts Ave., NW, that would be home to the paintings, prints, and sculptures that would be utilized most often by the museum, complete with rolling racks and shelving. The university has upgraded its collections management software that would be able to accommodate the collection and would be working with the registrars at the National Gallery of Art to incorporate the data on the collection.
Next Steps
In support of this acquisition, American University has launched a funding initiative designed to update the museum’s exhibition and storage space, to include a redesign of the second-floor galleries. Further investment will also include a study room for use by AU students, faculty, and visiting scholars; and staff capable of assessing and caring for the collection and enhancing public program offerings to share the collection with the world.
The Corcoran Gallery of Art, one of the first private museums in the United States, was established in 1869 and expanded in 1880 to include the Corcoran College of Art and Design. The Corcoran Gallery of Art has closed, and in 2014, the Corcoran transferred the college to George Washington University. A complete listing of artwork and recipient organizations can be found on the Corcoran website at corcoran.org/artdistribution.  
MUSEUM INFORMATION, HOURS, LOCATION: The American University Museum is a three-story public museum and sculpture garden located within the university’s Katzen Arts Center. The region’s largest university facility for exhibiting art, the museum has a permanent collection that highlights the donors’ holdings and AU’s Watkins Collection and Rothfeld Collection. Rotating exhibitions emphasize regional, national, and international contemporary art.
The Katzen Arts Center, named for Washington-area benefactors Dr. and Mrs. Cyrus Katzen, brings all the visual and performing arts programs at AU into one space. Designed to foster interdisciplinary collaboration in the arts, the Katzen includes the museum, the Abramson Family Recital Hall, the Studio Theatre, a dance studio, an electronics studio, artists’ studios, rehearsal space, and classrooms.

The first step in cracking the online art market is...

Get a lot of followers...
You’ve heard time and time again that artists need to be on Instagram.
You’ve seen the stats. You know that when done right, Instagram can become a huge asset to your art business.
But when you only have a few hundred followers (let’s face it, mostly family and friends), it can feel like an eternity waiting for that coveted notification to pop up—the one announcing you got another follower.
Read the whole article in Artwork Archive here

Sunday, May 13, 2018

Art Scam Alert!

Still this guy tries to rip off artists! Be aware! This is a scam!
From:    thomasfred50005000@Oengineer.com 
Good Day
Im Thomas Fred From NC. I  observed my wife has been viewing your website on my laptop and i guess she likes your piece of art work, I'm also impressed to have seen your different piece of works too, : ) You are doing an amazing job.I would like to receive more information about your piece of artwork and what inspires you. I am very much interested in  buying a piece of art ,to  surprise my wife. Kindly reply for the  immediate art work for purchase ??
(Thomasfred50005000@gmail.com)

Best Regards

Thomas

Saturday, May 12, 2018

Call for artists

Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries 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 at hocoarts.submittable.com/submit/, for pick-up at the Howard County Center for the Arts, or by mail by calling 410-313-2787 or emailing info@hocoarts.org. The next deadline for submissions is Sunday, July 1, 2018.
 
HCAC manages two galleries at the Howard County Center for the Arts with over 2100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists.
 
HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows.
 
Gallery hours are Monday through Friday 10AM - 8PM, Saturday 10AM - 4PM, and Sunday 12 - 4PM.  To learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org.  

Friday, May 11, 2018

This weekend: Gateway Artists' Open Studios

2018 Spring Open Studios

Saturday, May 12, 2018 from 12-5 p.m.
Gateway Arts District: Along Maryland’s Route 1 corridor


The artists of Maryland’s Gateway Arts District present the 14th iteration of the Spring Open Studios on Saturday, May 12, 2018 from 12-5 p.m. The self-guided tour takes place in the Gateway Arts District along Route 1 in Prince George’s County, MD in the towns of Mount Rainier, North Brentwood, Brentwood and Hyattsville. 


The Gateway Arts District is the DC metro area’s largest arts district and houses internationally renowned galleries, studios, workshops and art spaces. Visitors have the opportunity to directly interact with artists in their studios and to connect with their artistic process.

34 Venues. 70 Studios. Over 100 Artists!

On Saturday, May 12, studios, art organizations, and galleries throughout the Gateway Arts District will open their doors to the public. The event is free and open to people of all ages. Over 100 individual artists participate in the event making the 2018 Spring Open Studios the region’s most prominent visual arts event.  Audiences can attend art openings, glass-blowing demonstrations or select artwork in an artist’s studio. This artist-led event presents a once-a-year opportunity to connect with the region’s most important and economically vital centers of art production. 

A free shuttle bus will make stops from Artists by the Tracks in Mount Rainier to Pyramid Atlantic in Hyattsville.

Between studios and gallery stops, the Gateway Arts Districts offers several new food and drink options along Route 1 including the recently opened Pizzeria Paradiso in Hyattsville, known for its outstanding pizza and wide selection of craft beers.  Pizzeria Paradiso will host a beer festival on May 12 from 12-5 p.m.

More information, including a self-guided map of the open studios, visit the events’ Facebook page at www.facebook.com/2018springopenstudios in advance of the tour.

Make sure to stop at White Point Studio, 3708 Wells Ave., Mt. Rainier, MD 20782


Laurel Lukaszewski will be joined by her fellow resident artists Kate Kretz, Tamara Laird, Jo Ellen Walker, and visiting artist Pat Goslee. In addition, all of the neighboring studios will also be open, including the Washington Glass School, Otis Street Arts Project, Red Dirt Studio and Pyramid Atlantic up the road. They are all hoping to clear out a bit of their storage, so there will be great art-deals to be found :) 

Thursday, May 10, 2018

Bethesda Fine Arts Festival this weekend!


Join a lot of art lovers at the 15th annual Bethesda Fine Arts Festival this Saturday, May 12 from 10am-6pm and Sunday, May 13 from 10am-5pm.

Artists from across the country will showcase and sell their original painting, drawing, photography, furniture, jewelry, woodwork, ceramics and more in Bethesda’s Woodmont Triangle, along Norfolk and Auburn Avenues.

The two-day event will feature fine art, live music and local restaurants.

Admission is FREE and there's plenty of free parking as well!.

Details here.

Double Art Scam Alert!

Stay away from these rip off artists!. If you want to know how the scam works, then type "art scam" in quotes in the blog search box...
From: Patricia Williams -  lbrookes9797@gmail.com
Good Day,
How is work and family? I picked interest in your artwork and decided
to write you. I will like to know if your artwork can be purchased and
shipped internationally?. I can email the artwork of interest and
payment will be completed in full once you confirm my purchase order
with a quotation. Kindly let me know when you are in office and ready
to take my artwork order also let me know if you accept either Visa
Card / Master Card or PayPal for payment
Best Regards
Patricia Williams 
And also this one: 
From: Barbara Cummins  - czalett@gmail.com
Subject: Art Purchase
Reply-To: brc779@outlook.com
Good Day,
How is work and family? I picked interest in your artwork and decided
to write you. I will like to know if your artwork can be purchased and
shipped internationally?. I can email the artwork of interest and
payment will be completed in full once you confirm my purchase order
with a quotation. Kindly let me know when you are in office and ready
to take my artwork order also let me know if you accept either Visa
Card / Master Card or PayPal for payment
Best Regards
Barbara Cummins

Henrietta Lacks at NPG

The Smithsonian’s National Portrait Gallery recognizes the life of Henrietta Lacks with the installation of a 2017 portrait by Kadir Nelson. The painting will be installed on the museum’s presentation wall on the first floor Tuesday, May 15. The portrait was jointly acquired by the National Portrait Gallery and the Smithsonian’s National Museum of African American History and Culture as a gift from Nelson and the JKBN Group LLC, and will be shared by the two museums. The artwork will be on view at the Portrait Gallery through Nov. 4. 

“It is fitting that Henrietta Lacks be honored at two Smithsonian museums, as each approaches American history from unique and complementary perspectives,” said Kim Sajet, director of the National Portrait Gallery. “Lacks’ story presents moral and philosophical questions around issues of consent, racial inequalities, the role of women, medical research and privacy laws, providing rich platforms for historical understanding and public dialogue.”

“Henrietta Lacks (HeLa): The Mother of Modern Medicine” by Kadir Nelson, oil on linen, 2017.
“The National Museum of African American History and Culture has always felt that the story of Henrietta Lacks is a significant and important moment that deserved greater recognition,” said Lonnie Bunch, director of the museum.

Lacks (1920 – 1951) lost her life to cervical cancer at age 31. During her treatment, doctors took cells from her body and discovered they lived long lives and reproduced indefinitely in test tubes. These “immortal” HeLa cells have since contributed to over 10,000 medical patents, aiding research and benefiting patients with polio, AIDS, Parkinson’s disease and other conditions. Considering the history of medical testing on African Americans without their permission, the fate of Lacks raises questions about ethics, privacy and race. 

Addressing those issues forthrightly, Rebecca Skloot’s 2010 book, The Immortal Life of Henrietta Lacks, prompted Oprah Winfrey and HBO to explore her story on film. Commissioned by HBO, Nelson used visual elements to convey Lacks’ legacy. The wallpaper features the “Flower of Life,” a symbol of immortality; the flowers on her dress recall images of cell structures; and two missing buttons allude to the cells taken from her body without permission.