1. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
2. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
3. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
4. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
5. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
6. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
7. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
8. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
9. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
10. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
11. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
12. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
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13. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
14. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
15. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
16. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
17. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
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18. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
19. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
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20. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
21. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
22. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
23. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
24. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
25. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
26. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
27. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
28. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
29. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
30. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
31. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
32. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
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33. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
34. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
35. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
36. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
37. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
|
38. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
39. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
|
40. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
41. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
42. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
43. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
44. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
45. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
46. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
47. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
48. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
49. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
50. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
51. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
52. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
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53. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
54. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
55. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
56. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
57. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
|
58. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
59. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
|
60. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
61. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
62. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
63. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
64. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
65. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
66. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
67. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
68. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
69. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
70. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
71. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
72. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
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73. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
74. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
75. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
76. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
77. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
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78. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
79. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
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80. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
81. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
82. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
83. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
84. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
85. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
86. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
87. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
88. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
89. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
90. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
91. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
92. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
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93. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
94. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
95. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
96. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
97. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
|
98. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
99. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
|
100. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
101. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
102. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
103. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
104. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
105. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
106. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
107. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
108. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
109. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
110. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
111. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
112. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
|
113. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
114. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
115. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
116. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
117. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
|
118. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
119. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
|
120. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
121. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
122. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
123. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
124. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
125. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
126. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
127. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
128. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
129. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
130. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
131. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
132. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
|
133. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
134. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
135. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
136. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
137. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
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138. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
139. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
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140. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
141. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
142. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
143. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
144. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
145. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
146. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
147. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
148. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
149. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
150. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
151. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
152. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
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153. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
154. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
155. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
156. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
157. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
|
158. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
159. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
|
160. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
161. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
162. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
163. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
164. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
165. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
166. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
167. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
168. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
169. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
170. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
171. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
172. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
|
173. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
174. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
175. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
176. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
177. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
|
178. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
179. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
|
180. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
181. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
182. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
183. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
184. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
185. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
186. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
187. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
188. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
189. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
190. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
191. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
192. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
|
193. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
194. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
195. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
196. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
197. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
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198. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
199. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
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200. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
201. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
202. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
203. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
204. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
205. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
206. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
207. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
208. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
209. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
210. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
211. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
212. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
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213. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
214. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
215. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
216. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
217. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
|
218. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
219. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
|
220. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
221. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
222. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
223. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
224. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
225. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
226. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
227. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
228. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
229. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
230. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
231. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
232. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
|
233. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
234. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
235. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
236. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
237. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
|
238. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
239. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
|
240. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
241. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
242. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
243. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
244. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
245. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
246. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
247. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
248. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
249. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
250. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
251. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
252. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
|
253. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
254. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
255. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
256. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
257. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
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258. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
259. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
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260. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
261. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
262. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
263. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
264. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
265. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
266. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
267. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
268. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
269. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
270. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
271. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
272. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
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273. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
274. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
275. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
276. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
277. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
|
278. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
279. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
|
280. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
281. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
282. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
283. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
284. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
285. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
286. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
287. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
288. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
289. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
290. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
291. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
292. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
|
293. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
294. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
295. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
296. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
297. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
|
298. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
299. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
|
300. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |
301. Source: Art Competitions provided by Artshow.com |
Item: 2022-2023 Curator-in-Residence Program Open Call - Omaha, NE |
$36,000 stipend. Deadline: May 14, 2021 |
302. Source: Art Competitions provided by Artshow.com |
Item: Artwork Archive Art Business Accelerator Grant |
10 unrestricted grants of $2,500 each. Deadline: May 14, 2021 |
303. Source: Art Competitions provided by Artshow.com |
Item: Lakeville Art Festival - Lakeville, MN |
$3,000 in awards. Deadline: May 14, 2021 |
304. Source: Art Competitions provided by Artshow.com |
Item: NAA 24th Regional Juried Show - Newburyport, MA |
$2,000 in awards. Deadline: May 1, 2021 |
305. Source: Art Competitions provided by Artshow.com |
Item: JAS17 - The Juried Art Show! - Online |
$1,000 in awards. Deadline: May 3, 2021 |
306. Source: Art Competitions provided by Artshow.com |
Item: 51st Annual River Road Show - Baton Rouge, LA |
$4,000+ in cash and merchandise. Deadline: May 13, 2021 |
307. Source: Art Competitions provided by Artshow.com |
Item: 2nd Biennial Bower Center Fiber Arts National Juried Exhibition - Bedford, VA |
$1,025 in awards. Deadline: May 12, 2021 |
308. Source: Art Competitions provided by Artshow.com |
Item: Big Four Arts Festival - Louisville, KY |
$2,500 in awards. Deadline: May 10, 2021 |
309. Source: Art Competitions provided by Artshow.com |
Item: PCNW's 24th Annual Juried Exhibition - Seattle, WA |
$1,000 in awards. Deadline: Apr 18, 2021 |
310. Source: Art Competitions provided by Artshow.com |
Item: Printmaker's Hand V - Port Townsend, WA |
$1,600 in awards. Deadline: May 5, 2021 |
311. Source: Daily Campello Art News |
Item: Things that are not OK - and I'm going to start calling them out Date: 10 April 2021, 1:00 am |
One of the most common ingredients of the artworld, and sometimes a formidable tool for emerging artists to build a resume (if you want to know what it is sooooooo important that you develop a valid and sustainable artistical resume, then you need to take my next "Bootcamp for Artists" seminar) is to respond to call for artists, art competitions, etc. There's always a set of deadlines. A deadline for entries to be in - the most important deadline for the artist. A deadline for the hosting entity to respond with notifications of acceptance or rejection. A deadline for delivery of accepted artworks A deadline for pick up of exhibited/unsold artwork at the end of competition (if local delivered) Three of the four key deadlines fall on the artists - and generally speaking, if you miss any of the first two (entry deadline and delivery deadline), then you are OUT! If you miss the last deadline, there's often a daily "storage charge" until the artwork is picked-up. One thing that I have been noticing more and more lately, is that hosting venues are often - anecdotal data seems to indicate most of the time - Missing THEIR deadline to notify artists and respond with notifications of acceptance or rejection. This is not only unprofessional, but puts an extra burden on the shoulders of the artists, who may only have a tight window for decision-making related to the submitted artwork. What is up with that? Why are we allowing the hosting venues to simply (often without a reason) go silent as deadlines pass and then ad hoc notify artists? I have been on the jurying end of this process dozens if not hundreds of times, and thus as the poet Marti wrote: "I know the monster well, for I have lived in its entrails." |
312. Source: Daily Campello Art News |
Item: New Corcoran Director Date: 8 April 2021, 6:41 pm |
Here's the announcement:
|
313. Source: Daily Campello Art News |
Item: An open letter to DMV area universities Date: 1 April 2021, 2:00 am |
There are several important, major universities in and around the DMV area. In most cases each is working, as most universities do, their own, individualized visual arts exhibition program, which is normally mix of exhibitions by their students, faculty, and sometimes invited artists. Almost without exception there is very little coordination between the different university/college venues, which in some cases boast some of the nicest exhibition spaces in the area - none better that American University's spectacular Katzen Arts Museum. This "little coordination" 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 itselg. 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 Marriott or Booze Allen and Hamilton, or (be still my beating heart), The Washington Post (owned by the planet's richest Cuban-American), 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 and often are ignored. And the Whitney Biennial is not what it used to be... not even close. 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 - all to be done online, of course, and without an entry fee. 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 contemporary 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. When it all else fails to get an university or college to play along, then they must be hit via the Board of Trustees of that University. Boom! A trustee drives the idea and the university will suddenly pay attention! This will not be an easy job to do, and as it grows, so will the bureaucracy 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 (unless a Trustee is involved). 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 bureaucracy 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. I initially proposed this idea locally about two decades ago - and everyone ignored it. In a weird way that the the Covidian Monster could have never predicted, the potential end of the Covidian Age may be in fact offering us the time for this idea to spring. There’s nothing more empowering than an idea whose time has come. |
314. Source: Daily Campello Art News |
Item: Studio space available Date: 29 March 2021, 3:57 pm |
As of July 21st, 2021, 1/2 of studio 17 (in section B1 by the galleries) will be available for lease on Parklawn Drive in Rockville, Maryland. This 1/2 studio share rents for $195/month. Get in touch now for jurying to reserve! |
315. Source: Daily Campello Art News |
Item: Shiri Achu virtual exhibition Date: 23 March 2021, 3:48 pm |
41inPrint:Worldwide A VIRTUAL ART EXHIBITION By Award-winning International Artist SHIRI ACHU SAT. APRIL 10TH – MON. APRIL 19TH 2021 _________________________________ April 10th - Private Zoom Opening party April 11th – 18th - 41InPrint Virtual Exhibition (7:00 pm – 7:30 pm daily) April 19th - Virtual book launch. From my good friend Shiri Achu:
41inPrint:Worldwide 8 Days Exhibition & Special Guests on ‘4+1 TALK ’ Day 1 - Sunday 11th - Bishop Darlingston Johnson & Pastor Chrys Johnson Day 2 - Monday 12th - Witty Minstrel Day 3 - Tuesday 13th - Jessica Mbangeni Day 4 – Wed. 14th - Naomi Achu & Myra Maimoh Day 5 - Thursday 15th - Blick Bassy Day 6 - Friday 16th - Mutabaruka Day 7 - Saturday 17th - Angie Stone Day 8 - Sunday 18th - Zack Orji |
316. Source: Daily Campello Art News |
Item: Art Fair Types Date: 17 March 2021, 6:37 pm |
As we approach (we hope) the end of The Covidian Age, and art fairs (hopefully) make a come back, and as we prepare to do art fairs in NYC, Miami, Houston, London, and maybe Seattle, I thought that this would be a good time to republish this post from 2004: One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art. Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching. The married couple: "Do you like it?" "Yeah, I like it- it's just what we've been looking for." "Where would we put it?" "We have a couple of spots that it'd fit." "Do you really like it." "Yeah, how about you?" "Yeah, I kinda of like it." "Should we get it?" "If you want it." (five minutes later) "Let's think about it." "OK" [To me] "Do you have a business card?" The couple (not married): Her: "Do you like it?" Him: "Sssoright" Her: "Where would we put it?" Him: "Dunno." Her: "Do you really like it." Him: "So'OK.. Yeah, how about you?" Her: "Yeah, I kinda, sorta, really like it." Him: "Dunno though" Her: "What? You don't like it?" Him: "If you want it." (five minutes later) Him: "Let's think about it." Her or Him: "OK" [To me] "Do you have a business card?" The Single Woman (SW) with a Woman Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... it's nice" SW: "It's exactly what I've been looking for!" Friend: "I have a friend who does work just like this..." SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "Yeah... it's OK" SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "There's a few more booths we haven't seen." SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Woman (SW) with a Man Friend: SW: "WOW! Now, I really like this!" Friend: "Yeah... Cool" SW: "It's exactly what I've been looking for!" Friend: "I think it's a lithograph" [it's actually a charcoal] SW: "I am really drawn to it!" Friend: "Are you really sure you like it?" SW: "Uh - yeah!... why? Don't you like it?" Friend: "I have something like it... I got it cheaper though..." SW: "I think it's really good... I think it's the first piece in this whole show that I really like." Friend: "You like lithographs?" SW: "I think I'm going to buy this." Friend: "Are you sure?" SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?" (five minutes later) SW: "Do you have a business card?" The Single Focus Dream Buyer: [Walks straight up to one piece, never looks at the rest of the work in your booth] "I'll take this" [Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?" "Charge" [Me] "I can send you more information on this artist..." "That will be great - I love this work - it's exactly what I'm interested in!" [Me] "I have a few more pieces here, would you like to see them?" " No, thanks..." (He/She buys it and walks away) The "I'm glad you're here guy (IGYHG)": IGYHG: "Hey! I've been looking for you!" [Me]: "Hi, how are you?" IGYHG: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" IGYHG: "Howsa been goin'?" [Me]: "Yes... quite good actually..." IGYHG: "Well, let me look at what you've got!" [three minutes later] IGYHG: "Well... I'm glad you're here... see ya next year!" The "I Shudda Bought It Last Year Guy (Shudda)": Shudda: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." Shudda: "... been walking this whole fair looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" Shudda: "Howsa been goin'?" [Me]: "Yes... quite good actually..." Shudda: "Well, let me look at what you've got!" [three minutes later] Shudda: "Where's that really good watercolor of the fill-in-the-blank?" [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." Shudda: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" Shudda: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." Shudda: "I shudda bought it last year" [Walks away] Shudda: "You gonna be here next year?" The "Where's That Piece Guy (WTP)": WTP: "Hey! You're here again!" [Me]: "Hi, how are you? Yeah... It's our 7th year here..." WTP: "... been walking this whole fair specifically looking for you!" [Me]: "Yeah... lots of dealers this year... glad you found us!" WTP: "Howsa been goin'?" [Me]: "Yes... quite good actually..." WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! " [Me]: "Yeah... that is a nice piece." WTP: "I've been thinking about it for a whole year" [Looks around the booth and doesn't see it] WTP: "Do you still have it?" [From here there are two paths...] Path One - [Me]: "Uh... I sold it last year - but I have a few more pieces by that artist." WTP: "Ah! - I really wanted that one! Do you have another one?" [Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---" WTP: "I really wanted that piece; and it was a good price too..." [Me]: "Maybe you'd like some of his new work..." WTP: "I shudda bought it last year" [Walks away] WTP: "You gonna be here next year?" Path Two [Me]: "Let me get it for you... I have it in the back!" WTP: "Great" [I bring it out and give to WTP] WTP: "Yeah this is it! It's great!" [Me]: "This artist has done really well this last year and ---" WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?" [Walks away...] |
317. Source: Daily Campello Art News |
Item: More get a thick skin ops! Date: 3 March 2021, 6:07 pm |
As I preach - artists need a thick skin!
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318. Source: Daily Campello Art News |
Item: Maremi Andreozzi and Wayson Jones at Adah Rose Date: 28 February 2021, 11:43 am |
Awright folks - the Covidian Age is almost over (one hopes) - time to start getting back to visiting galleries, creating art, doing art fairs... Start here: "May You Live In Interesting Times" -- Maremi Andreozzi and Wayson Jones at Adah Rose Gallery
March 3- April 10, 2021 Open by Appointment Most Days Adah Rose Gallery 3766 Howard Ave Kensington MD 20895 301-922-0162 |
319. Source: Daily Campello Art News |
Item: Thick skin Date: 19 February 2021, 10:11 pm |
I'm always preaching that artists need to have thick skins...
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320. Source: Daily Campello Art News |
Item: Opportunities for Artists Date: 9 February 2021, 2:00 am |
Artists wishing to be considered for an exhibit in the Howard County Arts Council (HCAC) galleries are invited to submit a general exhibit application. The HCAC Exhibits Committee meets quarterly to review applications and select artists for the exhibit space. Artists, ages 18 and older, working in all media and styles including time-based and installation artists, are encouraged to apply either individually or as a group. The Committee also welcomes proposals from curators and organizations. For detailed entry guidelines, visit this website or email exhibits@hocoarts.org. The next deadline for submissions is April 1, 2021. HCAC manages two galleries at the Howard County Center for the Arts with over 2,100 square feet of exhibit space. The HCAC gallery program was established to enhance the public’s appreciation of the visual arts, provide a venue to exhibit the work of local, regional, and national artists in a professional space, and provide leadership in the arts by presenting a broad spectrum of arts in all media from both emerging and established artists. HCAC presents 11-12 exhibits per year of national, regional, and local artists, including two-person, small and large group, juried, curated, and community shows. Due to the COVID-19 pandemic, gallery hours may be subject to change. For current gallery hours, or to learn more about HCAC programs and exhibits, call 410-313-ARTS (2787) or visit hocoarts.org. |