Tuesday, June 04, 2019

Remembering a powerful woman

Three 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 muerasin 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 02, 2019

Eve

"The Eve, Running Away from Eden"
Charcoal on broken Bisque
5x3x1 inches, circa 2019 by F. Lennox Campello


Saturday, June 01, 2019

The Morrigan

"The Morrigan" Charcoal on broken Bisque 4x3x1 inches, circa 2019 by F. Lennox Campello
"The Morrigan"
Charcoal on broken Bisque
4x3x1 inches, circa 2019 by F. Lennox Campello

Friday, May 31, 2019

Fernando Botero Became Famous Despite the Art World’s Scorn

Botero may be an international, populist favorite, but most North American critics won’t give him the time of day.
Read a really cool article by Scott Indrisek here.

Thursday, May 30, 2019

Calling all local printmakers!

Printmaking Coffee and Fellowship
American University Museum at the Katzen Arts Center

June 21, 3-5PM

Calling all local printmakers! The Katzen invites you to the museum for coffee, fellowship, and networking. Meet printmakers from across the DMV and view our two ongoing printmaking exhibitions! Please let us know if you plan to attend by RSVPing here

Wednesday, May 29, 2019

Solo show!

By now I've told you a few times: I'll be having an (unexpected) solo show of new work at the Stone Tower Gallery in Glen Echo Park in Maryland

Opening is July 5th, 6-8PM!

Just finished this little piece, about 14 inches in diameter - "Supergirl Flying Naked", charcoal on unfired Bisque... from my "Obsessive Drawings" series.


Supergirl Flying Naked by F. Lennox Campello - charcoal on unfired Bisque, 14 inches circumference, c. 2019
"Supergirl Flying Naked", charcoal on unfired Bisque, 14 inches circumference, c. 2019



Tuesday, May 28, 2019

Gottlieb Emergency Grant Program

Deadline: rolling basis
This emergency grant provides financial assistance to painters, printmakers, and sculptors whose needs are the result of an unforeseen incident, and who lack the resources to meet that situation.

Monday, May 27, 2019

Can fine art be funny?

Big News: I'll be having an (unexpected) solo show of new work at the Stone Tower Gallery in Glen Echo Park in Maryland

Opening is July 5th, 6-8PM!

Just finished this little piece, about 3x2x1 inches - "An unmarried man begging his cat for forgiveness", charcoal on unfired broken Bisque...

An unmarried man begging his cat for forgiveness, charcoal on unfired Bisque, 2019 by F. Lennox Campello
"An unmarried man begging his cat for forgiveness", charcoal on unfired Bisque...

Sunday, May 26, 2019

Solo show coming in July!

Big News: I'll be having an (unexpected) solo show of new work at the Stone Tower Gallery in Glen Echo Park in Maryland

Opening is July 5th, 6-8PM!

Just finished this little piece, about 2x3x1 inches - "An Unmarried Woman", charcoal on unfired Bisque...

An Unmarried Woman - charcoal on unfired Bisque, 2x3x1 inches, c. 2019 by F. Lennox Campello
 "An Unmarried Woman", charcoal on unfired Bisque, 2x3x1 inches, c. 2019

Saturday, May 25, 2019

Grand daughter #1: Mila Audrey

Mila Audrey Tarasova Campello newborn photos done by Lauren Cross Photography
Mila Audrey Tarasova Campello
Newborn photos done by Lauren Cross Photography
(Red hair courtesy of her maternal grandmother... I think)

Thursday, May 23, 2019

Calling all local printmakers!

Printmaking Coffee and Fellowship
American University Museum at the Katzen Arts Center

June 21, 3-5PM

Calling all local printmakers! The Katzen invites you to the museum for coffee, fellowship, and networking. Meet printmakers from across the DMV and view our two ongoing printmaking exhibitions! Please let us know if you plan to attend by RSVPing here

Wednesday, May 22, 2019

Go to this today

Should art offend? Does it matter if people are offended? Should offensive art be displayed? Should it be censored? Who decides what is offensive or appropriate? Join us to hear a discussion of these questions and more.

A discussion panel featuring Philip Kennicott, Chief Art and Architecture Critic, the Washington PostJanis Goodman, Panelist, WETA Around Town, Associate Professor of Fine Arts, Corcoran School of the Arts and Design, George Washington University; Lenny Campello, Author, Daily Campello Art News; and Jason Kuznicki, Research Fellow, Cato Institute and Editor, Cato Books; moderated by Caleb O. BrownCato Daily Podcast host, Director of Multimedia, Cato Institute.


May 22, 2019 
6:30PM to 8:00PM EDT


Cato Institute
1000 Massachusetts Ave, NW
Washington, DC 20001-5403

Phone (202) 842 0200

Come to this seminar today!

Should art offend? Does it matter if people are offended? Should offensive art be displayed? Should it be censored? 

Who decides what is offensive or appropriate? Join us to hear a discussion of these questions and more.

A discussion panel featuring Philip Kennicott, Chief Art and Architecture Critic, the Washington PostJanis Goodman, Panelist, WETA Around Town, Associate Professor of Fine Arts, Corcoran School of the Arts and Design, George Washington University; Lenny Campello, Author, Daily Campello Art News; and Jason Kuznicki, Research Fellow, Cato Institute and Editor, Cato Books; moderated by Caleb O. BrownCato Daily Podcast host, Director of Multimedia, Cato Institute.



May 22, 2019 
6:30PM to 8:00PM EDT


Cato Institute
1000 Massachusetts Ave, NW
Washington, DC 20001-5403

Phone (202) 842 0200

Tuesday, May 21, 2019

Residency in Portugal

ARTERRARESIDENCIAS | CALL FOR ARTISTS AND PROJECTS 2019

They accept application from artists who work in all disciplines and at any stages of their career. The residency program hosts multidisciplinary artists from all over the world since 2010. 

ARTErra is placed in a green beautiful village between mountains in central/north Portugal. 

No Entry Fee. 

Details: http://bitly.com/1OXhNPg OR arterra.geral@gmail.com

Tomorrow at the Cato Institute

Should art offend? Does it matter if people are offended? Should offensive art be displayed? Should it be censored? Who decides what is offensive or appropriate? Join us to hear a discussion of these questions and more.

A discussion panel featuring Philip Kennicott, Chief Art and Architecture Critic, the Washington PostJanis Goodman, Panelist, WETA Around Town, Associate Professor of Fine Arts, Corcoran School of the Arts and Design, George Washington University; Lenny Campello, Author, Daily Campello Art News; and Jason Kuznicki, Research Fellow, Cato Institute and Editor, Cato Books; moderated by Caleb O. BrownCato Daily Podcast host, Director of Multimedia, Cato Institute.


May 22, 2019 
6:30PM to 8:00PM EDT


Cato Institute
1000 Massachusetts Ave, NW
Washington, DC 20001-5403

Phone (202) 842 0200

Monday, May 20, 2019

Pencil this in: Lecture: Art with a Twist

Sunday, October 13, 2pm.

Lecture: Art with a Twist


Montpelier Art Center

9652 Muirkirk Rd


Join me as I take a fun walk through art history that culminates in contemporary art where I will discuss the work of some DC area artists and our regional art scene, and answer questions.

Lecture is free and open to the public.

Vanessa Campello Strasser



More charcoal on broken unfired Bisque... this is my firstborn Vanessa Campello Strasser...

Vanessa Campello Strasser - charcoal on unfired Bisque, c. 2019 F. Lennox Campello
Vanessa Campello Strasser

Sunday, May 19, 2019

Elise Tarasova

More charcoal and conte with a little color pencils on unfired Bisque... this is my second born: Elise Tarasova nee Campello... about 3 inches by 3 inches...

Elise Tarasova Campello - Charcoal on unfired bisque by F. Lennox Campello


Saturday, May 18, 2019

Boot camp for artists scheduled!

Boot Camp for Artists

Saturday, November 2nd, 10am-4pm , in the John Addison Concert Hall of Harmony Hall
Harmony Hall Arts Center presents Mr. Lenny Campello’s seminar, “The Artists’ Boot Camp”, open to all Prince George’s County artists, 16 and up.  Mr. Campello is the Greater Washington D.C. area’s pre-eminent art dealer, critic, consultant and blogger as well as artist. He designed his seminar to deliver information, data and proven tactics to artists, and to allow them to develop and sustain a career in the fine arts. Some of the topics that he will cover are, creating a resume, creating a body of work, selling your art, juried shows and news releases, just to name a few. 
The seminar is free and lunch is included. Seating is limited so please call 301.446.3251 or email stuart.diekmeyer@pgparks.com to register and provide lunch preference.

Deadline is by 5pm, October 25th, but this seminar usually books very quickly, so I'd recommend that you RSVP as soon as possible!

Harmony Hall
10701 Livingston Road 
Fort Washington, MD 20744

Friday, May 17, 2019

Solo show coming up in July!

I have a big announcement to make: I have a solo show coming up this July - more details later... but meanwhile, here are a couple of graphite drawings on broken, unfired Bisque... the subject is Little Junes...

Original number 9 graphite pencil on unfired bisque by F. Lennox Campello, c. 2019

Original number 9 graphite pencil on unfired bisque by F. Lennox Campello, c. 2019