Thank you for submitting an application for the 2019 S&R Washington Award. We received over 600 applications from artists around the world, which made the decision process very difficult.We regret to inform you that you have not been selected as one of the 2019 winners of the Washington Award. We hope that this does not discourage you from reapplying in the future. Please note, because of the number of applicants this year, we are unable to give feedback regarding individual applications.On behalf of everyone at S&R Foundation, we want to thank you for your time and effort in submitting an application. We wish you continued success in your future artistic endeavors.All the best,S&R Foundation team
Wednesday, December 12, 2018
Another one bites the dust!
Tuesday, December 11, 2018
Call for Drawings
No entry fee!
A Contemporary Drawing Exhibition
GALLERY: The Downtown Gallery is located in downtown Kokomo. The gallery displays artwork by students, faculty, alumni and local, regional and national artists throughout the year.
ELIGIBILITY: This juried exhibition is open to all artists over the age of 18, who reside in the United States. Any form of contemporary drawing is accepted. All work must be original and completed in the last two years. All work must be accurately represented in jpeg images. Work not meeting these criteria will not be exhibited.
PRESENTATION: Professional presentation of each piece is required. 2D artwork must be framed and have a secure way to hang the piece if it requires hanging. For canvases, the sides and all staples must be covered. Sculptures should be fully assembled and structurally sound and include detailed installation instructions, if necessary.
ENTRY: All entries must be made through the CaFE website. All entries will be chosen from high-resolution (300dpi) jpeg images. Files not to exceed 5MB. For 3D works only, a second detail photo may be uploaded. The gallery reserves the right to reproduce images accepted into the show for promoting and archiving the exhibition. Due to a generous donor, there will not be a fee required for entry. Questions should be directed to ugallery@iuk.edu subject line “A Contemporary Drawing Exhibition”.
DELIVERY and PICK-UP: Delivery and pick-up of artwork will be the responsibility of the artist. The artist may choose to either personally drop-off and pick-up the work during gallery hours or ship their work to the gallery. It is the artist’s responsibility to send any shipped artwork in a sturdy, reusable box with a PREPAID return shipping label inside. Any work not picked up 30 days after the end of the show will become the property of the Indiana University Kokomo Downtown Gallery.
IMPORTANT DATES TO REMEMBER:
· Entries due: 12/29/2018
· Notifications to artist on or before: 1/5/2019
· Delivery of Artwork: 1/16/2019-1/19/2019, (during gallery hours)
· Exhibition Dates: 2/1/2019-2/21/2019
· Opening Reception: 2/1/2019 5:30pm-8:00pm
· Pick-up Artwork: 2/22, 2/23, 2/27, 2/28/2019 (during gallery hours)
GALLERY INFO:
HOURS: Wednesday: 11:30am – 5:30pm
Thursday: 12:30pm-6:30pm
Friday: 11:30am-5:30pm
Saturday: 12:30pm-6:30pm
Email Address: ugallery@iuk.edu
Subject line: A Contemporary Drawing Exhibition
Address for drop off:
102 N. Main St.
Kokomo, IN 46901
Address for mail delivery:
Indiana University Kokomo
ATTN: The Downtown Gallery
2300 S. Washington St.
Kokomo, IN 46902
A Contemporary Drawing Exhibition
GALLERY: The Downtown Gallery is located in downtown Kokomo. The gallery displays artwork by students, faculty, alumni and local, regional and national artists throughout the year.
ELIGIBILITY: This juried exhibition is open to all artists over the age of 18, who reside in the United States. Any form of contemporary drawing is accepted. All work must be original and completed in the last two years. All work must be accurately represented in jpeg images. Work not meeting these criteria will not be exhibited.
PRESENTATION: Professional presentation of each piece is required. 2D artwork must be framed and have a secure way to hang the piece if it requires hanging. For canvases, the sides and all staples must be covered. Sculptures should be fully assembled and structurally sound and include detailed installation instructions, if necessary.
ENTRY: All entries must be made through the CaFE website. All entries will be chosen from high-resolution (300dpi) jpeg images. Files not to exceed 5MB. For 3D works only, a second detail photo may be uploaded. The gallery reserves the right to reproduce images accepted into the show for promoting and archiving the exhibition. Due to a generous donor, there will not be a fee required for entry. Questions should be directed to ugallery@iuk.edu subject line “A Contemporary Drawing Exhibition”.
DELIVERY and PICK-UP: Delivery and pick-up of artwork will be the responsibility of the artist. The artist may choose to either personally drop-off and pick-up the work during gallery hours or ship their work to the gallery. It is the artist’s responsibility to send any shipped artwork in a sturdy, reusable box with a PREPAID return shipping label inside. Any work not picked up 30 days after the end of the show will become the property of the Indiana University Kokomo Downtown Gallery.
IMPORTANT DATES TO REMEMBER:
· Entries due: 12/29/2018
· Notifications to artist on or before: 1/5/2019
· Delivery of Artwork: 1/16/2019-1/19/2019, (during gallery hours)
· Exhibition Dates: 2/1/2019-2/21/2019
· Opening Reception: 2/1/2019 5:30pm-8:00pm
· Pick-up Artwork: 2/22, 2/23, 2/27, 2/28/2019 (during gallery hours)
GALLERY INFO:
HOURS: Wednesday: 11:30am – 5:30pm
Thursday: 12:30pm-6:30pm
Friday: 11:30am-5:30pm
Saturday: 12:30pm-6:30pm
Email Address: ugallery@iuk.edu
Subject line: A Contemporary Drawing Exhibition
Address for drop off:
102 N. Main St.
Kokomo, IN 46901
Address for mail delivery:
Indiana University Kokomo
ATTN: The Downtown Gallery
2300 S. Washington St.
Kokomo, IN 46902
Monday, December 10, 2018
Art Scam Alert!
Beware of this scammer:
Henderson Ronald hendersonronald73@gmail.comMon 12/10/2018, 3:59 PMHello, This message is to make inquiry on the question below: Do you accept credit card for payment(my U.S.A Master and Visa card to be precise)? Kindly let me know your comments on these, before i send the items i am interested in purchasing from you. Though i already know of a freight forwarder that will pick my packages from you, since they ship lesser than any other courier and they are so effective in shipping my goods to me here in Victoria , Australia is estimated to be (2-3 days) I have used there service in the past and it was splendid Henderson
Art Basel Miami Week
I've put all my daily reports into one post for easy reading!
December 1, 2018
The art fair opens on Tuesday for the VIP preview and then on Wednesday to the public...
Arrived today and relax ops for the day as the work starts tomorrow...
December 1, 2018
The art fair opens on Tuesday for the VIP preview and then on Wednesday to the public...
Arrived today and relax ops for the day as the work starts tomorrow...
December 2, 2018
Today LBK and Audrey Wilson, the key elements of the Alida Anderson Art Projects team in Miami's "big dance" of the art world, woke up early and by 8AM were at the marshaling yard for the Art Miami and Context Art Miami fairs.
By the time I got there around 10AM, the artwork had been unloaded and delivered to our two spaces at C321 and C322.
Soon the unpacking and hanging of the work begins, and the two begin the time consuming task of installation!
A few, exhausting hours later - the booth (this is C322) is beginning to look quite a bit, almost ready...
Next is the art of putting the labels up. It wasn't that many years ago that foofy galleries would not put up any labels for artwork, as the idea being pushed was that true art was too special to be addressed or commodified by something as crass as a label that gives you the basic information of the piece (title, artist, media and price).
That has essentially become a thing of the past.
We headed back to the hotel room, except for LBK, who still had a lot of work to do with the artists from the Scope Art Fair, which she's assisting as well!
December 3, 2018
Since we've done so much so far, and installations for Context Art Miami is moving forward well, today is a lazy start, and everyone hit the beach across from the hotel (Hollywood Beach) for a few hours in the sun.
By two o'clock, we're all back at work, installing work, labeling work, etc. Artists J. Jordan Bruns, jet-lagged and bleary-eyed, but smiling, arrives from Japan and begins to hang his work. A little later, New York painter Matthew Langley also arrives and begins the process - and it is a process which Langley has developed - to hang his grid of paintings - and the second booth begins to look good!
Across the aisle, LBK begins to unpack the pedestals and her work that goes on it.
Meanwhile Audrey Wilson is up on the ladder, laboriously adding the tedious and precise task of adding the artists' names to the walls.
A bit later, the fair director walks by, and let's me know that the names need to be removed, as the fair does not allow them.
Puzzled, I remind him that I had sent an email several weeks ago, asking if it was allowed, and had an email from the fair management telling me that it was OK to put artist names on the wall. It is his turn for him to look puzzled, and I tell him that I will find the email and send it to him.
I do this, and find him again - I let him know that I am willing to take the names down, if it is such a big deal, but I need to know now - rather than later, as Audrey is still up on a ladder putting names up.
A little later, Audrey finishes putting the names up.
Just after that we get the official notice that the names have to come down.
Audrey goes back up the ladder and names begin to come down and about $200 is wasted in the process.
Years ago I learned that one shouldn't waste time fuming over things which cannot be changed or controlled, so we move on.
But this isn't the biggest set back of the day.
Later that night, the box containing two of Wilson's three pieces at the fair, which she shipped from her school (Kent State) have arrived at the hotel, and Audrey unpacks them in her room, to get them ready to be hung on Tuesday.
To everyone's dismay, the pieces have been seriously damaged during the shipping process.
Like the professional that she is, Audrey hits the road looking for replacement parts for her complex piece, which marries electricity, found objects, cast glass, neon gas and blown glass.
She returns disappointed ("the hot shop sucks", she notes), but armed with some supplies and soon her and LBK and furiously working on repairing one of the two pieces.
The two work late into the night, and the morning of Tuesday, to rebuild one of the two damaged works - the other will have to wait for a visit to a lighting warehouse in Miami on Tuesday.
Tomorrow DMV area painter Tim Vermeulen arrives, sets up his wall, and we should be ready for the VIP opening at 4:30 PM.
December 4, 2018
The VIP opening took place tonight - started at a little bit before 4:30 for the illuminati, and at 4:30 for the "super" VIPs, and at 5:30 for the VIPs, which is essentially anyone in Miami with a relative showing at any of the many Art Basel week fairs in the very moist and warm Greater Miami area.
We showed up at out booth around 1PM, just to make sure all the loose ends were tightened up.
DMV uberartist Tim Vermeulen drove straight from the DMV and set up his wall on the second booth and all of a sudden, both booths were done!
And then the crowds arrived...
Including the "interesting" and "artsy" people in the crowd...
And there were a lot of photos being taken...
The opening night ended at 10PM, and after all those hours on our feet... and having seen and met many DMV area VIPs (such as uberartist Tim Tate, who is showing in several Miami art fairs this week)... multiple art dealers with sore feet headed to their temporary Miami rest places... the "real" fair opens tomorrow.
December 5, 2018
The Context Art Miami art fair opened to the general public today, as the illuminati and VIP holders had their night last night. I arrived a little early and walked the fair... below are some of my faves so far:
The DMV's uberartist Tim Tate also knocks this technology into new dimensions... below are his works at Context, right next to a Banksy piece!
Rolf Ohst's works with Munich's Galerie Benjamin Eck also stands out, not just because of the artist's spectacular mastery of hyper realism, but also his subject matter of big, beautiful women.
David Kassan's portrait of Raya Kovensky also caught my eye - not just for the gace and elegance of the subject, and the mastery of the artist, but also by the oversized hands. Kassan has legendary skill, which is evident in this work.
Also at Gallert Henoch, I loved Eric Zener's Cradle - one can feel the power of this dive, and the spectacular blue punches the solar plexus of the mind as much as the diver's punch of the water surface.
Ten Contemporary was full of great work, but I was particularly taken by the sculptures of Max Leiva.
I've admired Scott Scheidly for a long time now... and he's really delivered some brilliant new paintings to this fair - with really good price points - As it has been the case for the last couple of years, the Trumpinator is all over the fair, the subject of many artists... but no one does DJT better than Scheidly... note the tiny hands.
More works by this brilliant artist, apparently obsessed by Republican presidents:
This gallery (Art Spoke) also has a series of outstanding and more intimate paintings by Scott Listfield, where an astronaut is the central figure in a series of somewhat unusual settings - The Trumpinator makes an appearance there as well.
I think that Spoke Art should really look at the work of DC area artist F. Lennox Campello - he would really fit in this stable of artists!
When I first saw the below sculpture from far, I thought it was a new work by the DMV's Mark Jenkins...
It wasn't...
I also liked these sculptures being showcased by Paris' Nil Gallery... no labels, so no idea who this artist is... there's a lesson there.
Opening time was getting close and I ran out of time in my walkthrough of Context, but not before I came across this painterly display of talent by Rafel Bestard from Catalonia's Galeria Contrast.
We are next to Miami's Projects Gallery, which is showcasing its "Janis Project", which has been to more cities than I can recall! Some really excellent work by Frank Hyder!
And here's the artist (Frank Hyder) with the "real" Janis... DMV uberartist Michael Janis!
More as time permits over the next few days...
December 6, 2018
Halfway there...
Traffic to Context Art Miami has been really good - it is clear that the management listened to last year's signage issues, and now visitors know how to get to and from Art Miami to Context Art Miami.
A BZ to the Art Miami management for that.
After almost a decade and a half of doing art fairs, my experience has been that most art fair managers think they know what's "best" and seldom listen to the feedback from the galleries, which they so furiously seek! Good examples of that has been the prodigious down spiral of Scope, Pulse and others... and the same prodigious recovery of those same fairs - once they started listening to the constructive criticism and feedback.
How are sales?
I have no idea how other galleries are doing, but in the seven years that I have been doing this art fair, and the dozen+ years that we've been coming down to Miami for Art Basel week (#artbaselmiami), the triad of Friday, Saturday and Sunday is when the majority of the sales of art take place.
So far, we have sold a few works - including a cool Batman video piece from my "Naked Superheroes" series.
And lots of fair goers are still loving life as part of my interactive video piece Your Portrait in a Gallery of Portraits.
Anyway... today I sold a 2009 drawing, a recent Frida drawing and the Batman video piece... so feeling cool and OK.
Also yesterday I got a GIANT commission to do an interactive video piece for a new building in McLean (thanks Paula).
Erwin Timmers (co-founder of the Washington Glass School) also got a commission to "re-do" this piece, but with red glass instead of clear glass... cough, cough...
By the time I got there around 10AM, the artwork had been unloaded and delivered to our two spaces at C321 and C322.
 |
| Booth C321 at Context Art Fair - the beginning |
 |
| Konopinski and Wilson installing Erwin Timmers' latest piece |
A few, exhausting hours later - the booth (this is C322) is beginning to look quite a bit, almost ready...
Next is the art of putting the labels up. It wasn't that many years ago that foofy galleries would not put up any labels for artwork, as the idea being pushed was that true art was too special to be addressed or commodified by something as crass as a label that gives you the basic information of the piece (title, artist, media and price).
That has essentially become a thing of the past.
We headed back to the hotel room, except for LBK, who still had a lot of work to do with the artists from the Scope Art Fair, which she's assisting as well!
December 3, 2018
Since we've done so much so far, and installations for Context Art Miami is moving forward well, today is a lazy start, and everyone hit the beach across from the hotel (Hollywood Beach) for a few hours in the sun.
By two o'clock, we're all back at work, installing work, labeling work, etc. Artists J. Jordan Bruns, jet-lagged and bleary-eyed, but smiling, arrives from Japan and begins to hang his work. A little later, New York painter Matthew Langley also arrives and begins the process - and it is a process which Langley has developed - to hang his grid of paintings - and the second booth begins to look good!
Across the aisle, LBK begins to unpack the pedestals and her work that goes on it.
Meanwhile Audrey Wilson is up on the ladder, laboriously adding the tedious and precise task of adding the artists' names to the walls.
A bit later, the fair director walks by, and let's me know that the names need to be removed, as the fair does not allow them.
Puzzled, I remind him that I had sent an email several weeks ago, asking if it was allowed, and had an email from the fair management telling me that it was OK to put artist names on the wall. It is his turn for him to look puzzled, and I tell him that I will find the email and send it to him.
I do this, and find him again - I let him know that I am willing to take the names down, if it is such a big deal, but I need to know now - rather than later, as Audrey is still up on a ladder putting names up.
A little later, Audrey finishes putting the names up.
Just after that we get the official notice that the names have to come down.
Audrey goes back up the ladder and names begin to come down and about $200 is wasted in the process.
Years ago I learned that one shouldn't waste time fuming over things which cannot be changed or controlled, so we move on.
But this isn't the biggest set back of the day.
Later that night, the box containing two of Wilson's three pieces at the fair, which she shipped from her school (Kent State) have arrived at the hotel, and Audrey unpacks them in her room, to get them ready to be hung on Tuesday.
To everyone's dismay, the pieces have been seriously damaged during the shipping process.
Like the professional that she is, Audrey hits the road looking for replacement parts for her complex piece, which marries electricity, found objects, cast glass, neon gas and blown glass.
She returns disappointed ("the hot shop sucks", she notes), but armed with some supplies and soon her and LBK and furiously working on repairing one of the two pieces.
The two work late into the night, and the morning of Tuesday, to rebuild one of the two damaged works - the other will have to wait for a visit to a lighting warehouse in Miami on Tuesday.
Tomorrow DMV area painter Tim Vermeulen arrives, sets up his wall, and we should be ready for the VIP opening at 4:30 PM.
December 4, 2018
The VIP opening took place tonight - started at a little bit before 4:30 for the illuminati, and at 4:30 for the "super" VIPs, and at 5:30 for the VIPs, which is essentially anyone in Miami with a relative showing at any of the many Art Basel week fairs in the very moist and warm Greater Miami area.
We showed up at out booth around 1PM, just to make sure all the loose ends were tightened up.
DMV uberartist Tim Vermeulen drove straight from the DMV and set up his wall on the second booth and all of a sudden, both booths were done!
And then the crowds arrived...
Including the "interesting" and "artsy" people in the crowd...
And there were a lot of photos being taken...
The opening night ended at 10PM, and after all those hours on our feet... and having seen and met many DMV area VIPs (such as uberartist Tim Tate, who is showing in several Miami art fairs this week)... multiple art dealers with sore feet headed to their temporary Miami rest places... the "real" fair opens tomorrow.
December 5, 2018
The Context Art Miami art fair opened to the general public today, as the illuminati and VIP holders had their night last night. I arrived a little early and walked the fair... below are some of my faves so far:
The DMV's uberartist Tim Tate also knocks this technology into new dimensions... below are his works at Context, right next to a Banksy piece!
Rolf Ohst's works with Munich's Galerie Benjamin Eck also stands out, not just because of the artist's spectacular mastery of hyper realism, but also his subject matter of big, beautiful women.
David Kassan's portrait of Raya Kovensky also caught my eye - not just for the gace and elegance of the subject, and the mastery of the artist, but also by the oversized hands. Kassan has legendary skill, which is evident in this work.
Also at Gallert Henoch, I loved Eric Zener's Cradle - one can feel the power of this dive, and the spectacular blue punches the solar plexus of the mind as much as the diver's punch of the water surface.
Ten Contemporary was full of great work, but I was particularly taken by the sculptures of Max Leiva.
I've admired Scott Scheidly for a long time now... and he's really delivered some brilliant new paintings to this fair - with really good price points - As it has been the case for the last couple of years, the Trumpinator is all over the fair, the subject of many artists... but no one does DJT better than Scheidly... note the tiny hands.
The Galician mass murderer and suffocater of the Cuban people also makes an appearance in Scheidly's talented universe in a memorable new depiction of Castro.
More works by this brilliant artist, apparently obsessed by Republican presidents:
This gallery (Art Spoke) also has a series of outstanding and more intimate paintings by Scott Listfield, where an astronaut is the central figure in a series of somewhat unusual settings - The Trumpinator makes an appearance there as well.
I think that Spoke Art should really look at the work of DC area artist F. Lennox Campello - he would really fit in this stable of artists!
When I first saw the below sculpture from far, I thought it was a new work by the DMV's Mark Jenkins...
It wasn't...
I also liked these sculptures being showcased by Paris' Nil Gallery... no labels, so no idea who this artist is... there's a lesson there.
Opening time was getting close and I ran out of time in my walkthrough of Context, but not before I came across this painterly display of talent by Rafel Bestard from Catalonia's Galeria Contrast.
We are next to Miami's Projects Gallery, which is showcasing its "Janis Project", which has been to more cities than I can recall! Some really excellent work by Frank Hyder!
And here's the artist (Frank Hyder) with the "real" Janis... DMV uberartist Michael Janis!
More as time permits over the next few days...
December 6, 2018
Halfway there...
Traffic to Context Art Miami has been really good - it is clear that the management listened to last year's signage issues, and now visitors know how to get to and from Art Miami to Context Art Miami.
A BZ to the Art Miami management for that.
After almost a decade and a half of doing art fairs, my experience has been that most art fair managers think they know what's "best" and seldom listen to the feedback from the galleries, which they so furiously seek! Good examples of that has been the prodigious down spiral of Scope, Pulse and others... and the same prodigious recovery of those same fairs - once they started listening to the constructive criticism and feedback.
How are sales?
I have no idea how other galleries are doing, but in the seven years that I have been doing this art fair, and the dozen+ years that we've been coming down to Miami for Art Basel week (#artbaselmiami), the triad of Friday, Saturday and Sunday is when the majority of the sales of art take place.
So far, we have sold a few works - including a cool Batman video piece from my "Naked Superheroes" series.
And lots of fair goers are still loving life as part of my interactive video piece Your Portrait in a Gallery of Portraits.
Anyway... today I sold a 2009 drawing, a recent Frida drawing and the Batman video piece... so feeling cool and OK.
Also yesterday I got a GIANT commission to do an interactive video piece for a new building in McLean (thanks Paula).
Erwin Timmers (co-founder of the Washington Glass School) also got a commission to "re-do" this piece, but with red glass instead of clear glass... cough, cough...
December 7, 2018
Friday is usually the beginning of when the photo-takers and collectors begin to flow back and buy art.
A first happened yesterday and was closed today: We actually made an Artsy-aided sale!
Here's how it breaks down...
Last night, late into the night, as the beach wind whistled past my fifth floor windows at the Hollywood Towers in Hallandale Beach (or are we in Fort Lauderdale Beach?), I got an email from Artsy.
We also managed a nice sale of two of uberartist Michael Janis' scraffito works to a nice Villanova couple.
Saturday next...
December 8, 2018
The weather for Saturday was fantastic! And the aisles of Context Art Miami and its sister fair Art Miami were packed!
Wall to wall people.
Just as its larger companion piece did last year, my "Your Portrait in a Gallery of Portraits", which is an interactive video drawing that employs a hidden miniature camera to bring your image into the artwork, attracted a lot of attention and a lot of selfie photos.
The first celebrity sighting of the fair occurred when Professor Alan Dershowitz, who has taught law to more Presidents and Senators and Congressmen/women than all other law professors combined, dropped by the booth and ended up with a small lithograph of President Obama in his collection. "I voted for him!" he told me.
We then sold a nice tryptich by former DC area artist Amy Lin, who now lives in South Africa! It went to a local Miami private collector.
Then the following happened - and this has happened many, many times before, but never with the end result that I'm about to relate.
A very attractive lady and her equally pretty daughter came by and were quite taken with one of my "obsessive series" drawings - the one that I've always titled in some variation of "Suddenly she wasn't afraid any longer", and which depicts a figure - usually female - jumping into a void of white paper.
This work is charcoal and a little, tiny bit of watercolor on the body of the woman. Using the double encrypted "form" of writing that I've developed over the years and which marries Celtic Ogham and Navy Falcon codes. On her back I've written in this code "No fear" and a double hand gesture for "freedom."
After I described the work, I could see that they quite liked it - but they walked away nonetheless.
A few minutes later, a young woman came by, became mesmerized by the work and bought it. I packed it and got it ready to be delivered the next day.
Half an hour later, the first two ladies returned, and were shocked to see that the work had been sold. Things became very emotional and the younger lady began crying.
It broke my heart! I've never seen anyone cry because they liked one of my pieces so much that they became emotional over the loss.
I consoled her and let her know that I could try and reproduce the work - after all, it is one my obsessive images. She would not be consoled and walked away in tears.
A while later, a bit calmer, she returned, and we began to discuss a possible commission, which we eventually agreed on - I then gave her a small lithograph that I had done in art school as a present.
There are lessons there for all kinds of things; more later when I produce the new work.
Tomorrow is the last day, and then the grueling dance of re-packing, re-loading and driving the work back begins...
December 9, 2018
Sunday opened with typical Miami style rains: hard and boisterous, but short! My cousin's gardens around his house near Calle Ocho in Little Havana smelled of liliacs as we departed for the fair.
The fair opened at its usual time (11AM) and the crowds were plenty and numerous until closing time at 6PM.
By the time Sunday arrives, feet hurt, the body aches and the brain is experiencing sensory overload. It is also the time for some galleries to rejoice if they've had a financially successful fair, a bad one, or even a business-ending disaster. As usual, there were galleries who did well, some which broke even, or were "in the black" and those which did not sell a single work during the event.
The feedback noise from the many experienced collectors this year all seemed to reflect the same sort of impression - they're no doubt that the fair "phenomenon" is undergoing a market check in a sense.
The most common comment about the namesake fair (Art Basel Miami Beach) has now been the same for a while: that it has become somewhat "stale" and too "secondary market" in its selection of works and artists.
What was surprising to me was the uniform feedback on the decline of a couple of other satellite fairs which for many years had a sterling reputation. The opposite to that negative feedback was the consistent feedback that the "newish" Untitled Art Fair was one of the best fairs this year and it has now fully established itself as one of the Miami art week top of the food-chain art fairs, somewhat bypassing once power fairs such as Pulse and NADA.
I was super busy at my our booth in Context Art Miami, and as usual I no longer have the time to personally verify this collector feedback, but seeing that it came consistent from multiple sources, it seems like it is solid and decent feedback from experienced collectors.
All of this is not that unusual as fairs and fair directors influence who, what and how art is selected (and even displayed).
At our fair, it was very crowded... and yet, for the first time in a dozen years, we had no sales on the last day of the fair.
The packing started; then the van performed the van dance of coming onto the grounds; then the carrying of the packed art and loading back onto the van for the long trek back home, with the dreaded "snow" word hanging in the wind.
Then LBK headed north.
A first happened yesterday and was closed today: We actually made an Artsy-aided sale!
Here's how it breaks down...
Last night, late into the night, as the beach wind whistled past my fifth floor windows at the Hollywood Towers in Hallandale Beach (or are we in Fort Lauderdale Beach?), I got an email from Artsy.
---- Please Respond Above This Line -----And there was no scam here... it was the real thing - so this work was sold to a very nice lady from Boca Raton who first saw it at the fair, and emailed and image to her daughter, who then found it on Artsy's page on the Context Art Miami fair and contacted us to reserve it for her mother!
Please contact me at 561-XXX-XXXX as soon as possible so I may purchase it.
Thank you So much!
About this collector:XXXXXXX has been an Artsy member since December 2018.
This artwork is on view at CONTEXT Art Miami 2018 through Dec 9.
F. Lennox Campello
Daphne II, 2018
Charcoal and Conte on Paper
Contact For PriceThis is an inquiry sent through Artsy regarding interest in the work “Daphne II” (2018) by F. Lennox Campello. Please respond to this inquiry by replying directly to this email.
We also managed a nice sale of two of uberartist Michael Janis' scraffito works to a nice Villanova couple.
Saturday next...
December 8, 2018
The weather for Saturday was fantastic! And the aisles of Context Art Miami and its sister fair Art Miami were packed!
Wall to wall people.
Just as its larger companion piece did last year, my "Your Portrait in a Gallery of Portraits", which is an interactive video drawing that employs a hidden miniature camera to bring your image into the artwork, attracted a lot of attention and a lot of selfie photos.
The first celebrity sighting of the fair occurred when Professor Alan Dershowitz, who has taught law to more Presidents and Senators and Congressmen/women than all other law professors combined, dropped by the booth and ended up with a small lithograph of President Obama in his collection. "I voted for him!" he told me.
We then sold a nice tryptich by former DC area artist Amy Lin, who now lives in South Africa! It went to a local Miami private collector.
 |
| Amy Lin |
A very attractive lady and her equally pretty daughter came by and were quite taken with one of my "obsessive series" drawings - the one that I've always titled in some variation of "Suddenly she wasn't afraid any longer", and which depicts a figure - usually female - jumping into a void of white paper.
This work is charcoal and a little, tiny bit of watercolor on the body of the woman. Using the double encrypted "form" of writing that I've developed over the years and which marries Celtic Ogham and Navy Falcon codes. On her back I've written in this code "No fear" and a double hand gesture for "freedom."
After I described the work, I could see that they quite liked it - but they walked away nonetheless.
A few minutes later, a young woman came by, became mesmerized by the work and bought it. I packed it and got it ready to be delivered the next day.
Half an hour later, the first two ladies returned, and were shocked to see that the work had been sold. Things became very emotional and the younger lady began crying.
It broke my heart! I've never seen anyone cry because they liked one of my pieces so much that they became emotional over the loss.
I consoled her and let her know that I could try and reproduce the work - after all, it is one my obsessive images. She would not be consoled and walked away in tears.
A while later, a bit calmer, she returned, and we began to discuss a possible commission, which we eventually agreed on - I then gave her a small lithograph that I had done in art school as a present.
There are lessons there for all kinds of things; more later when I produce the new work.
Tomorrow is the last day, and then the grueling dance of re-packing, re-loading and driving the work back begins...
December 9, 2018
Sunday opened with typical Miami style rains: hard and boisterous, but short! My cousin's gardens around his house near Calle Ocho in Little Havana smelled of liliacs as we departed for the fair.
The fair opened at its usual time (11AM) and the crowds were plenty and numerous until closing time at 6PM.
By the time Sunday arrives, feet hurt, the body aches and the brain is experiencing sensory overload. It is also the time for some galleries to rejoice if they've had a financially successful fair, a bad one, or even a business-ending disaster. As usual, there were galleries who did well, some which broke even, or were "in the black" and those which did not sell a single work during the event.
The feedback noise from the many experienced collectors this year all seemed to reflect the same sort of impression - they're no doubt that the fair "phenomenon" is undergoing a market check in a sense.
The most common comment about the namesake fair (Art Basel Miami Beach) has now been the same for a while: that it has become somewhat "stale" and too "secondary market" in its selection of works and artists.
What was surprising to me was the uniform feedback on the decline of a couple of other satellite fairs which for many years had a sterling reputation. The opposite to that negative feedback was the consistent feedback that the "newish" Untitled Art Fair was one of the best fairs this year and it has now fully established itself as one of the Miami art week top of the food-chain art fairs, somewhat bypassing once power fairs such as Pulse and NADA.
I was super busy at my our booth in Context Art Miami, and as usual I no longer have the time to personally verify this collector feedback, but seeing that it came consistent from multiple sources, it seems like it is solid and decent feedback from experienced collectors.
All of this is not that unusual as fairs and fair directors influence who, what and how art is selected (and even displayed).
At our fair, it was very crowded... and yet, for the first time in a dozen years, we had no sales on the last day of the fair.
The packing started; then the van performed the van dance of coming onto the grounds; then the carrying of the packed art and loading back onto the van for the long trek back home, with the dreaded "snow" word hanging in the wind.
Then LBK headed north.
Sunday, December 09, 2018
Art Basel Miami Week: The Last Day
Sunday opened with typical Miami style rains: hard and boisterous, but short!
The fair opened at its usual time (11AM) and the crowds were plenty and numerous until closing time at 6PM.
By the time Sunday arrives, feet hurt, the body aches and the brain is experiencing sensory overload. It is also the time for some galleries to rejoice if they've had a financially successful fair, a bad one, or even a business-ending disaster. As usual, there were galleries who did well, some which broke even, or were "in the black" and those which did not sell a single work during the event.
The feedback noise from the many experienced collectors this year all seemed to reflect the same sort of impression - they're no doubt that the fair "phenomenon" is undergoing a market check in a sense.
The most common comment about the namesake fair (Art Basel Miami Beach) has now been the same for a while: that it has become somewhat "stale" and too "secondary market" in its selection of works and artists.
What was surprising to me was the uniform feedback on the decline of a couple of other satellite fairs which for many years had a sterling reputation. The opposite to that negative feedback was the consistent feedback that the "newish" Untitled Art Fair was one of the best fairs this year and it has now fully established itself as one of the Miami art week top of the food-chain art fairs, somewhat bypassing once power fairs such as Pulse and NADA.
I was super busy at my our booth in Context Art Miami, and as usual I no longer have the time to personally verify this collector feedback, but seeing that it came consistent from multiple sources, it seems like it is solid and decent feedback from experienced collectors.
All of this is not that unusual as fairs and fair directors influence who, what and how art is selected (and even displayed).
At our fair, it was very crowded... and yet, for the first time in a dozen years, we had no sales on the last day of the fair.
The packing started; then the van performed the van dance of coming onto the grounds; then the carrying of the packed art and loading back onto the van for the long trek back home, with the dreaded "snow" word hanging in the wind.
Then LBK headed north.
The fair opened at its usual time (11AM) and the crowds were plenty and numerous until closing time at 6PM.
By the time Sunday arrives, feet hurt, the body aches and the brain is experiencing sensory overload. It is also the time for some galleries to rejoice if they've had a financially successful fair, a bad one, or even a business-ending disaster. As usual, there were galleries who did well, some which broke even, or were "in the black" and those which did not sell a single work during the event.
The feedback noise from the many experienced collectors this year all seemed to reflect the same sort of impression - they're no doubt that the fair "phenomenon" is undergoing a market check in a sense.
The most common comment about the namesake fair (Art Basel Miami Beach) has now been the same for a while: that it has become somewhat "stale" and too "secondary market" in its selection of works and artists.
What was surprising to me was the uniform feedback on the decline of a couple of other satellite fairs which for many years had a sterling reputation. The opposite to that negative feedback was the consistent feedback that the "newish" Untitled Art Fair was one of the best fairs this year and it has now fully established itself as one of the Miami art week top of the food-chain art fairs, somewhat bypassing once power fairs such as Pulse and NADA.
I was super busy at my our booth in Context Art Miami, and as usual I no longer have the time to personally verify this collector feedback, but seeing that it came consistent from multiple sources, it seems like it is solid and decent feedback from experienced collectors.
All of this is not that unusual as fairs and fair directors influence who, what and how art is selected (and even displayed).
At our fair, it was very crowded... and yet, for the first time in a dozen years, we had no sales on the last day of the fair.
The packing started; then the van performed the van dance of coming onto the grounds; then the carrying of the packed art and loading back onto the van for the long trek back home, with the dreaded "snow" word hanging in the wind.
Then LBK headed north.
Saturday, December 08, 2018
Art Basel Miami Beach week: Saturday
The weather for Saturday was fantastic! And the aisles of Context Art Miami and its sister fair Art Miami were packed!
Wall to wall people.
Just as its larger companion piece did last year, my "Your Portrait in a Gallery of Portraits", which is an interactive video drawing that employs a hidden miniature camera to bring your image into the artwork, attracted a lot of attention and a lot of selfie photos.
The first celebrity sighting of the fair occurred when Professor Alan Dershowitz, who has taught law to more Presidents and Senators and Congressmen/women than all other law professors combined, dropped by the booth and ended up with a small lithograph of President Obama in his collection. "I voted for him!" he told me.
We then sold a nice tryptich by former DC area artist Amy Lin, who now lives in South Africa! It went to a local Miami private collector.
The the following happened - and this has happened many, many times before, but never with the end result that I'm about to relate.
A very attractive lady and her equally pretty daughter came by and were quite taken with one of my "obsessive series" drawings - the one that I've always titled in some variation of "Suddenly she wasn't afraid any longer", and which depicts a figure - usually female - jumping into a void of white paper.
This work is charcoal and a little, tiny bit of watercolor on the body of the woman. Using the double encrypted "form" of writing that I've developed over the years and which marries Celtic Ogham and navy Falcon codes. On her back I've written in this code "No fear" and a double hand gesture for "freedom."
After I described the work, I could see that they quite liked it - but they walked away nonetheless.
A few minutes later, a young woman came by, became mesmerized by the work and bought it. I packed it and got it ready to be delivered the next day.
Half an hour later, the first two ladies returned, and were shocked to see that the work had been sold. Things became very emotional and the younger lady began crying.
It broke my heart! I've never seen anyone cry because they liked one of my pieces so much that they became emotional over the loss.
I consoled her and let her know that I could try and reproduce the work - after all, it is one my obsessive images. She would not be consoled and walked away in tears.
A while later, a bit calmer, she returned, and we began to discuss a possible commission, which we eventually agreed on - I then gave her a small lithograph that I had done in art school as a present.
There are lessons there for all kinds of things; more later when I produce the new work.
Tomorrow is the last day, and then the grueling dance of re-packing, re-loading and driving the work back begins...
Wall to wall people.
Just as its larger companion piece did last year, my "Your Portrait in a Gallery of Portraits", which is an interactive video drawing that employs a hidden miniature camera to bring your image into the artwork, attracted a lot of attention and a lot of selfie photos.
The first celebrity sighting of the fair occurred when Professor Alan Dershowitz, who has taught law to more Presidents and Senators and Congressmen/women than all other law professors combined, dropped by the booth and ended up with a small lithograph of President Obama in his collection. "I voted for him!" he told me.
We then sold a nice tryptich by former DC area artist Amy Lin, who now lives in South Africa! It went to a local Miami private collector.
|
| Amy Lin |
A very attractive lady and her equally pretty daughter came by and were quite taken with one of my "obsessive series" drawings - the one that I've always titled in some variation of "Suddenly she wasn't afraid any longer", and which depicts a figure - usually female - jumping into a void of white paper.
This work is charcoal and a little, tiny bit of watercolor on the body of the woman. Using the double encrypted "form" of writing that I've developed over the years and which marries Celtic Ogham and navy Falcon codes. On her back I've written in this code "No fear" and a double hand gesture for "freedom."
After I described the work, I could see that they quite liked it - but they walked away nonetheless.
A few minutes later, a young woman came by, became mesmerized by the work and bought it. I packed it and got it ready to be delivered the next day.
Half an hour later, the first two ladies returned, and were shocked to see that the work had been sold. Things became very emotional and the younger lady began crying.
It broke my heart! I've never seen anyone cry because they liked one of my pieces so much that they became emotional over the loss.
I consoled her and let her know that I could try and reproduce the work - after all, it is one my obsessive images. She would not be consoled and walked away in tears.
A while later, a bit calmer, she returned, and we began to discuss a possible commission, which we eventually agreed on - I then gave her a small lithograph that I had done in art school as a present.
There are lessons there for all kinds of things; more later when I produce the new work.
Tomorrow is the last day, and then the grueling dance of re-packing, re-loading and driving the work back begins...
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