Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin

Art Maryland 2022

Deadline: August 1

Art Maryland is a biennial survey show of artists in Maryland and the surrounding areas (specifically, artists living or working within 100 miles of the Center, including Washington, DC and parts of Virginia, Delaware and Pennsylvania).

All artists, 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, Maryland, and working in any medium are invited to submit up to three artworks for consideration for the exhibit Art Maryland 2022. 

Entries must have been completed in the last two years and can not have been previously exhibited in the Howard County Arts Council (HCAC) galleries.

Visit HCAC's application portal to apply.

Twenty years ago I proposed the below idea to kindle our Greater region's visual art scene -- the Universities have (so far) all ignored the idea (P.S. - note the quaint use of "slides" :-):

Merry Xmas!

As promised, the first one of ten steps (in no particular order or ranking) to kindle the District/Maryland/Virginia (DMV) art "buzz" into a roar:

Number 10

The Universities

There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individual visual arts exhibition program, which is normally mix of exhibitions by their students, faculty and invited artists.

Almost without exception there is very little coordination between the different venues, which in some cases boast some of the nicest exhibition spaces in town. This is not unusual, as I imagine that in most cities this is also the same case, as the focus of the university gallery is in fact the university.

And here is where we can make a major change, and use the extraordinary resources afforded to our area by these venues, and their academic standing, to help Washington expand its worldwide visual art standing.

What we need to happen is for one of the local university art school chairs, or college deans, or even university gallery directors, to take the initiative to start coordinating a joint effort to create one annual combined, joint exhibition that synchronizes a focused exhibition that is spread throughout the Greater Washington area.

Imagine a national survey of art, with a good title and perhaps even a good, donated chunk of money as a prize. Say we call it “The Capital Art Prize” (OK, OK we’ll have to work on the title) and because good ideas sometimes attract funding, maybe we can convince a major local company like Lockheed Martin or AOL or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post, to help fund it on an annual basis.

This synchronized event can be modeled somewhat on what the Whitney does, but better. The Whitney Biennial’s Achilles heel is its over-reliance on hired curators. Unless an artist lives and works in NYC, LA or SF or is already in the local radar of one of the curators for that particular year, chances are slim to none that the artist will come to the attention of those Biennial curators. Hence great art and potentially great artists may be ignored.

In addition to the use of invited curators, also imagine that this event puts forth a national call for artists, independent and museum curators, schools, art organizations and galleries to submit works for consideration. Send us your slides, CD ROMS and photographs (and a self addressed, stamped envelope for their return).

Anyone can submit and in a fair selection process, since art is truly in the eyes (and agenda) of the beholder, anyone can be selected to exhibit. A truly American concept for a national American art survey that will leave the Whitney and other continental Biennials in the dust.

And because the exhibition venues are spread around the capital area region, in galleries at Georgetown, George Mason, George Washington, American, Catholic, Howard, University of Maryland, Montgomery Community College, Northern Virginia Community College, and the many others I am sure to be forgetting momentarily, we could put up one of the largest, most diverse, and influential American art surveys in the nation.

This will take a lot of work to set up initially, as one key university person needs to take the lead and emerge from the pack of largely unknown, anonymous group of academics currently running our area’s university art programs. On the other hand, this could be an exhibition that can and will put names and faces on the international art world map, much like the Whitney Biennial sometimes elevates its curators a notch above the rest

Some universities will resist, as the easiest thing to do is to do things as they have always been done, and not really create “new” work. But given that a strong leader among our academic community emerges and takes the lead for this idea, then even if we start with a set of four or five venues, in a joint, coordinated effort, others will follow.

This will not be an easy job to do, and as it grows, so will the burocracy around it. But starting it up will be the hardest part, and as momentum grows, things will become easier. Whoever, if anyone, takes this idea and runs with it, will face many huge obstacles and many negative people. He or she will need to convince other university/college gallery directors to participate. They in turn, will have to convince their superiors, who will, in turn have to approve (and perhaps help kick-start the funding) the joint project.

This leader will also have to coordinate the approach to get a local giant to fund this effort, but I suspect that once he has aligned a few colleges and universities, this may become easier (it’s never easy) as the “buzz” and need for the event develops.

This is all a lot of work, and initially, until a burocracy is established around the annual event, many, many volunteers will be needed. I hope that some of these can be drawn from the school’s student body, alumni who are artists, and other local artists, much like Art-O-Matic draws from the collective muscle of our area’s significant artist population.

Our area universities and colleges already have significant media resources at their disposal, to help spread the word. They run school newspapers, radio stations, etc. and also provide a constant flow of new blood to our major mainstream media.

The goal (or perhaps “the dream”) would be a national level survey of art, which may look, review and/or jury the work of maybe 50,000 artists around the nation, and select perhaps 100 each year, showcase their work around a dozen academic galleries, and award a $100,000 cash award as the Capital Art Prize, plus various other awards (Emerging Artist, Young Artist, etc.). Art of a nature and scale that will attract visitors to the university galleries, attention to our area, piss some people off, excite others, create interest, discussion and buzz around Washington and our art scene.

There’s nothing more empowering than an idea whose time has come.

An easy way to spend most of a summer rainy afternoon (and there are plenty of hem coming!) is a visit to the Torpedo Factory, host to many art studios and some key galleries. While you’re there, go check out the current Open Exhibit, juried by artist Jessie Boyland.

If you’re a constant reader of this blog, then you know what comes next: The Campello awards!

Are you ready for a shock? I believe that for the first time since I’ve been messing around with re-jurying other jurors’ shows and awards (first time was around 1981), this is the FIRST time that I’ve agreed with the Best of Show!

Wendy Donahoe’s “Traveler”, a spectacular charcoal and carbon pencil drawing, is not only a superbly crafted technical masterpiece, but also a work that does something that a master like Donahoe does so simply: in this case capture the psychologic presence of the subject.  She nails it and do not be fooled by the simplicity of my words in describing her accomplishment with this piece. These are finely tuned and trained artistic muscles which Donahoe flexes so easily in this work and which are in reality impossibly difficult to deliver.

I also quite liked some of the Honorable Mentions, especially “Transposition” by Susan O'Neill, an elegant figure study employing charcoal, red chalk, and mixed media on paper.

Traveler by Wendy Donahoe

Transposition by Susan O'Neill

"Art Lovers 1 - Picasso - Le Gourmet 0" by Leni Gurin