Maryland sweep!

My sincere congrats to the winners of the 2025 Trawick Prize: Bethesda Contemporary Art Awards! Out of more than 300 talented applicants, the jury chose these three as the 2025 award winners:

• Best in Show ($10,000): Danni O'Brien of Baltimore, MD
• Second Place ($2,000): Tara Youngborg of Elkridge, MD
• Third Place ($1,000): Bria Sterling-Wilson of Owings Mills, MD

The exhibition of the finalists' work will be on display at Gallery B from September 4 - 28. Gallery hours are Thursday-Saturday, 12-5pm and Sundays, 11am-4pm. The opening reception will be held next Friday, September 12 from 6 - 8pm.

Gallery B is located at 7700 Wisconsin Avenue, Suite E.

Barbara Januszkiewicz plexiglass artwork (see image below of Januszkiewicz painting Coming Together mural) has the power to connect, inspire, and transform neighborhoods. Nowhere is this more vivid than in Arlington, VA, where Barbara Januszkiewicz’s “Coming Together” mural has evolved from a local landmark to a symbol of creative innovation—and is now celebrated in a dynamic new gallery setting.

A Local Landmark Reimagined

On the east side of El Pollo Rico (932 N. Kenmore St, facing Wilson St), Januszkiewicz’s magnificent mural welcomes all with sweeping bands of color that echo Arlington’s diversity, vibrancy, and community pride. What began as a bold effort to revitalize a neglected pedestrian walkway has become an enduring emblem of togetherness for the neighborhood.

But the story does not end at the mural’s surface. Januszkiewicz has reinterpreted the energy and spirit of “Coming Together” through new fine art works—“Through Refraction” and “Reframe in Color”—now on view as part of the group exhibition Re:Vision & Re:Frame at George Mason University’s Founders Gallery, Mason Square Campus.

Art, Innovation, and Collaboration

This exhibition is not just a showcase, but a creative collaboration led by Mason Exhibitions Arlington and the Arlington Artists Alliance. Their partnership brings together nine artists to explore the theme of reframing: how can community, creativity, and innovation intersect in transformative ways? The gallery doesn’t just hang art—it leads visitors directly into the newly developed innovation hub Fuse at Mason Square, linking artistic vision with research, learning, and entrepreneurship.

Fuse serves as both backdrop and inspiration for the show. Its mission: to foster new ideas through cross-disciplinary learning. The very theme of the exhibition is drawn from this spirit of openness and exchange, encouraging artists and viewers alike to see their community through a new lens.

The Ongoing Journey

Januszkiewicz’s new plexiglass artwork captures the mural’s momentum—layers of transparent color dance and overlap, echoing the diversity and unity at the mural’s heart. By reframing her public art as gallery sculpture, she invites audiences to reflect on the changing face of Arlington and the shared potential of creative community.

“Coming Together was about making something beautiful and welcoming from overlooked space,” Januszkiewicz says. “Now, through this collaboration and new work, we’re exploring how those ideas carry forward—inside our galleries, across our creative spaces, and into our shared future.”

See It for Yourself

Re:Vision & Re:Frame runs through September 19, 2025 at:

Founders Gallery, Van Metre Hall, Mason Square Campus, Arlington, VA (right beside Fuse)

Original mural location: El Pollo Rico, 932 N. Kenmore St, Arlington, VA 22201 (east side, facing Wilson St)

For a behind-the-scenes look at mural-making, watch: The Making of “Coming Together” mural – Vimeo.

This collaborative exhibit is a unique opportunity to experience the evolution of public art—and the creative leadership of Mason Exhibitions Arlington and Arlington Artists Alliance—at the intersection where art and innovation shape the community’s future.

Time to open up... my apologies in advance for the cursing - you can retire the Navy out of a former sailor, but you can never retire the sailor out of a sailor.

That show is "Women Artists of the DMV." More than 400 artists in (so far) 15 major art venues across the capital region!

As part of that process, starting in December 2024 I wrote multiple emails and mailed multiple old-school snail mail letters to offer the Smithsonian Institution the opportunity to archive the exhibition materials as part of a survey snapshot in time for DMV area female artists - at no acquisition cost - FREE!

The materials that I offered to the SI would consist of a flash drive which would contain a Powerpoint presentation documenting all curated female artists and one image per artist - I also made it clear that any digital format could be used as needed/recommended by then.  Additionally, in view of how fast technology ages, I would also include (at no cost) a digital screen device (a digital frame) to “play” the digital presentation as needed in the future.

Throughout January, February, March, and April I was ignored, and in May I blasted a: "Did you get my email?" email to every email address that I could find online from them.

On May 9, 2025, I got this response:

From: AAACollectionReview - AAACollectionReview@si.edu 

To: lenny@lennycampello.com

Copy: Helmrich, Anne L.

Dear Lenny Campello,

    Thank you for your interest in the Archives of American Art. Upon reviewing your inquiry, the Archives is not the proper home for the proposed collection. This decision reflects the ongoing needs, priorities, scope, and resources of the Archives rather than the value of the collection.

We are excited to see the exhibition when it comes together. A more suitable repository for a local survey show and a PowerPoint documenting the artists who submitted might be the National Museum of Women in the Arts, though each institution has their own priorities and archival acquisition strategy. Such records of exhibition submissions can be challenging for archival accessions, particularly regarding rights issues around images as well as preservation concerns around born-digital materials.

Thank you again for reaching out to the Archives of American Art —

The curatorial team

Archives of American Art | Smithsonian Institution

www.aaa.si.edu| blog.aaa.si.edu

 

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Nine years ago my courageous mother died... this is my eulogy from that day:

When my father died last year, I began his eulogy by noting that another oak had fallen.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"Go in!" I demanded.

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

I learned a lesson there.

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

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

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

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

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

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

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

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

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

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

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

The song, which can start with just about any prose, started with the Jose Marti poem:

 Yo quiero, cuando me muera, sin patria, pero sin amo, tener en mi tumba un ramo de flores y una bandera

I want to, when I die, without my motherland, but without a master, to have on my tomb a bunch of flowers and a flag.

She died without a master, a strong and pliable woman who not only gave me the gift of life, but also the gift of freedom.

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

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

I’ve been a member of the WPA since I first moved to the DMV decades ago, and have participated in many shows and opportunities offered by the WPA, including several Gala auctions, the (e)merge art fairs, etc. I was also one of the “Sweet 16” selected by ubercollector Mera Rubell during her storied 2009 studio visit tour.

But it was when I was asked to curate for the WPA a show that would eventually be titled “Seven” (it spread across seven different galleries of the then Warehouse complex across from the then “new” Washington Convention Center, that I really hit pay dirt, as it was there that I met the person who would eventually become my wife.

“Seven” was a show designed (by me) to try to expose as many WPA artist members as possible to collectors and gallery owners. The vast majority of the artists selected by me had never before been “picked” by the WPA for anything. I then personally walked area gallerists and collectors through the show… eventually I lost count, but at some point nearly 20 of the 66 artists in “Seven” were picked up by galleries, and at least through 2009 it was the highest grossing fundraiser for the WPA, as well as getting major reviews in all the local newspapers and television attention from both local and national (CNN) stations.

And if you would indulge me, below is the storyline of how that show developed, fastidiously reported by me in DC Art News over the period that it took place. In looking back at these posts (I think I have most of them) I was somewhat surprised by the sheer amount of coverage that the show received, especially in these austere days of visual arts coverage around the DMV.  Below you will find a copy of the original posts from 2005, which are also still there.

The Story of "Seven"

Wednesday, May 11, 2005

As many of you have already read, I have been retained by the WPA/C to curate a show for them. I will be assisted by two young WPA/C interns: Sandra Fernandez and Adrian Schneck.

Because this show will be exhibited at the three separate buildings that comprise the Warehouse Theatre and Galleries complex, a total of seven separate spaces are available, and all will be used, and thus the exhibition title: Seven.

Using the power of the web, I intend to keep this curatorial process open and available to everyone via commentary here on what I am doing, how and why. In doing so, I hope to bring to light all the many issues, baggage, ideas, agendas, nepotism, and a complete lack of objectivity that a curator brings to such a massive job as this will be. As well as a lot of hard work and a good work ethic to deliver a show that will make all involved proud to be part of it. All artwork and artists to be displayed will be picked by me.

I will also try to handcuff some of my fellow commercial gallerists and, once the exhibition is open, take them around and have them discover (hopefully) some new talent from our area. It is my hope that the final selection of artists will be a good blend of some well-known area WPA/C artists as well as an exhibition opportunity for WPA/C talent that we don't see as often.

To start, I have decided to focus each of the seven spaces on a specific theme, genre or subject... sort of. I will also bring to this selection process (and to one space) the commercial acumen of a for-profit gallerist. As such (for example), I will select the artwork that will go in the main gallery space (co-located with the Warehouse Cafe) to be that work that I feel represents the best compilation of all the remaining spaces and also stands the best chance (in my sole opinion) of being sold.

Other spaces will have different approaches; for example, on my first run through all of the WPA/C slides, I was pleasantly surprised at the high quality of a lot of abstract paintings, and will thus hope to deliver a gallery full of those artists that (in my opinion) are the best from the membership.

Another space will be focused on a particular agenda item of mine: the nude figure. And thus I hope to deliver a gallery full of figurative nudes. At this time, I am also toying with the idea (space and logistics permitting) of having a figure drawing class, nude model and all, present at the opening. This is in the hope that they (the artists and the model) will provide an in situ perspective on the trials, tribulations and joy of creating artwork from the live model.

Details on the exhibition and entry process is available online here. All members of the WPA/C are eligible for consideration, but all final decisions and selections are mine.

I've already gone through all the WPA/C slides once (about 20,000 of them I'd guess), and will review all new entries and slides that come in between now and some future date a couple of weeks before the exhibition opens on June 30, 2005. I also intend to re-review all slides in the registry next week.

And I've already made some surprising discoveries and even some selections! In fact the first artist selected, and one whose work I did not know, is a MICA graduate and VCU MFA candidate Alessandra Torres. The image above is hers, and that's the artist as part of a sculptural installation titled Possess/(pose-us).

More later... keep checking; I truly intend for this exhibition to be provocative and fresh, but in the end it still remains one person's opinion and the trite saying that art is in the eye's of the beholder never applied more aptly than in this case: My eyes and thus my Seven.

Monday, May 16, 2005

Seven Update One
I'll be walking through the Warehouse spaces sometime today, along with some artists whose work I'd like to include in the coming "Seven" exhibition.

Visit here to enter "Seven."

Wednesday, May 25, 2005

Seven Update Three
I've re-visited about a third of the 24,000-plus slides in the WPA/C Artfile. There are a lot of old slides in there (including mine), and also a lot of WPA/C members don't have slides on file. Tsk, tsk...

I've also received quite a few entries electronically via email, and in some cases from members updating their files.

The selection process continues, and so far I've selected about thirty or so artists, most of which have or will receive an email from the WPA/C. I think that I will probably end up picking up about twenty or so more. After all the seven spaces at the Warehouse are quite ample, and I also have this salon-style vision for at least one of the spaces.

I've also invited (and they've accepted) Sam Gilliam and Manon Cleary, without a doubt two of DC's best known and most respected artists.

A few other artists that I wanted in this show have been unable to participate due to the fact that two of them have moved away and one is working furiously for a coming show and already has a waiting list for his next paintings!

There are also quite a few artists whose work I did not know... and this is part of the two way dialogue that happens between a curator and 24,000 slides.

There are dozens and dozens of very good artists who will not an invitation, but that have made a positive impression on me, and thus in a way are also gaining from this experience, as there's a good chance that their work may appear in something else associated with me in the future.

And that is why it is important to get out there and have slides in registries, and work online and so on: it needs to be seen!

Even being rejected has a possible positive footprint.

Case in point: Rebecca D'Angelo. Nearly ten years ago, Rebecca approached me with an exhibition proposal for a specific series of her photographs. The idea was interesting, but (for a then struggling commercial gallery) not very feasible, and so I told her no.

Years later, as I walked the seven various spaces that comprise the Warehouse holdings on 7th Street, one of them jumped in my mind as being perfect for Rebecca D'Angelo's project. I contacted her, she visited the spaces, and agreed!

Wait till you see it (her project that is). Opening night for "Seven" is June 30th from 6-8:30PM. Set that night aside.

Monday, June 20, 2005

Seven Update
Today, together with a few artists, one of the interns, and Kim Ward from the WPA/C and a photographer from the Washington Times, I walked the seven spaces at the Warehouse Gallery again.

We assigned some spaces already, and selected a few more artists. The WPA/C website will soon have the final list, which now includes Chan Chao, Adam Fowler, David Jung, Marie Ringwald, Rick Wall and many others.

I've also turned Mark Jenkins loose on the building, and I am sure that he will have an interesting tape people army present at the opening and for the duration of the show.

Now closing the loop on a drawing class that I want to have present at the opening. I have focused one of the seven galleries on the nude figure, and on opening night (June 30), I want to have a small drawing class present and drawing from a live nude model or two.

Wednesday, June 22, 2005

Seven (Done)
From the several thousand eligible artists (WPA/C members), I've chosen 66 67 for Seven. That number was closer to maybe 75 at one point, but several artists, for one reason or another, although invited could not participate.

Sometime next week I will take several of my fellow DC gallerists for a private view and tour of the show, hoping that they will discover some new talent (new to them) in the exhibition.

I also have several museum and a handful of independent curators (two from as far as Los Angeles and two from New York and one from the Midwest) in the process of being lined up to visit the show in the next few weeks. More on that when it happens.

And I will also take some well-known DC art collectors on a group tour sometime in the next couple of weeks; this is (after all) a fundraiser for the WPA/C.

The opening reception is Thursday, June 30th from 6 - 8:30PM.

Friday, June 24, 2005

The Seven Chosen

Artists selected for SEVEN are listed below; about a third of them are completely new to me. The rest I either knew their work, or who they were in some way or form. I think it is a powerful lesson on the importance of keeping your work "out there," no matter where "there" is, so that the work is "seen."

There are some well-known, experienced and recognized names on this list, people like Manon Cleary, Chan Chao and Sam Gilliam, as well as hot, young new artists like Lisa Bertnick, John Lehr and Kelly Towles.

Also young emerging artists like Alessandra Torres, Ben Tolman and Susan Jamison (who's in the current issue of New American Painting and also hangs in the Strictly Painting V exhibition at McLean). And also artists whose work I've rarely seen anywhere around our area, such as Gary Medovich, Rebecca D’Angelo, Sonia Jones, Lou Gagnon and Fae Gertsch.

This exhibition, having been curated by a gallerist, defines a show from the perspective of a curatorial eye aimed at perspective of intelligent, strong and visually powerful art and art ideas; this is my view from the ground-level; not the 10,000 foot level of a museum office.

As such, it is very painting-centric show at at time when painting (in spite of the constant attack from academia and the written word) seems to have regained center stage in the international art arena.

It is not a competition between the genres, and because of the agenda, prejudices and humanity of my selection process, in the end, Seven somewhat places painting at the center of attention, although I suspect that a strong showing by WPA/C photographers and what I expect to be a very memorable performance by Kathryn Cornelius, and an arresting installation by Alessandra Torres, will definately gather a big share of the public and media attention as well.

Here's the list:

Virginia Arrisueño
James W. Bailey
Joseph Barbaccia
Lisa Bertnick
Margaret Boozer
Mark Cameron Boyd
Adam Bradley
Scott Brooks
Lisa Brotman
Jonathan Bucci
Diane Bugash
Graham Caldwell
Chan Chao
Manon Cleary
Kathryn Cornelius
Rebecca Cross
Richard Dana
Rebecca D’Angelo
Margaret Dowell
Mary Early
Chris Edmunds
Victor Ekpuk
Michael Fitts
Adam Fowler
Lou Gagnon
Fae Gertsch
Sam Gilliam
Matthew Girard
Pat Goslee
Kristin Helgadottir
Linda Hesh
Maremi Hooff
Michal Hunter
Scott Hutchison
Melissa Ichiuji
Susan Jamison
Michael Janis
Mark Jenkins
Sonia Jones
David Jung
J.T. Kirkland
Sonya Lawyer
Tracy Lee
John Lehr
Joey Manlapaz
Matthew Mann
Amy Marx
Jeanette May
Maxwell McKenzie
Gary Medovich
Adrianne Mills
Allison Miner
Peter Photikoe
Sara Pomerance
Marie Ringwald
Molly Springfield
Tim Tate
Erwin Timmers
Ben Tolman
Alessandra Torres
Kelly Towles
Rick Wall
Frank Warren
Sarah Wegner
Andrew Wodzianski
Denise Wolff
Samantha Wolov

Monday, June 27, 2005

Early starts for Seven
Mark Jenkins installation for Seven, titled "Tres Marias," has already been installed in the trees outside the Warehouse Theatre and Galleries; inside Kelly Towles is already laboring on a wall, and Alessandra Torres will soon start on transforming a room.

Seven's opening is this Thursday starting at 6PM.

Monday June 27, 2005

Seven: Installation Day One

As with any large, multi-gallery exhibition, there were some hiccups on the first day of Seven's installation, which forced the move of a very visible spot to another area (thank God for a very flexible artist); plus the mysterious move of some artwork from one area to another; and the selected artist whom we all forgot to add to the master list; and the usual last minute broken glass...

Sarah Wegner installing her cement furniture and kissing tea set
And Mark Jenkins' tape sculptures have somehow moved from the tree in front of the buildings to the building itself!

Mark Jenkins' Tape Sculptures on the facade of the building

I like the guy looking down from the corner of the building

And below is Kelly Towles painting a wall in the second floor gallery...

Wednesday, June 29, 2005

Calm (NOT) Before the Storm

I am so tired! Early wake-ups all this week; plus late nights at Warehouse for the hanging of Seven.

A couple of small disasters today: One of Rebecca Cross' delicate ceramic pieces fell off the wall and broke; time to scramble and see if Rebecca can replace it with another work.

Then a major piece by a very good artist could not be hung due to weight and size, and now we are left scrambling trying to figure out what to do; things will resolve themselves by tomorrow.

And then there's the artist who wanted his work "hung just so," and so we reserved a very special place for this person, and so far the artist has not delivered any work or returned several messages. Where are you?

And (as anyone who has ever curated a show from slides knows), there's the "surprise."

The "surprise" is that piece of artwork that looks great in a slide, but that once you see it, it... well, uh... disappoints.

Oh well.... one surprise from 67 artists is not bad.

On the pleasant side, Alessandra Torres continues to astound me on the good side; seldom have a seen a young artist be so full of energy and zeal and talent. I predict good things for her.

And Kathryn Cornelius damned near made me a convert to video art; wait until you see her video piece (Titled "Resolve" and being projected on opening night at the top floor - all by herself - and later on a flatscreen in the second floor gallery).

And I predict that Scott Brooks and Samantha Wolov are going to raise some eyebrows (and maybe other body parts on Wolov's case).

The opening is tomorrow, Thursday June 30 at 6PM.

See ya there!

Thursday, June 30, 2005

Seven Opens Tonight
What: Seven, an exhibition of 67 WPA/C artists curated by me.

When: Opens tonight with a catered reception for the artists starting at 6PM. Work on exhibition until Sept. 9, 2005.

Where: The seven spaces that make up the Warehouse Theatre and Galleries complex. Located at 1021 7th Street, NW, across from the new Washington Convention Center.

See ya there!

Saturday, July 2, 2005

Breedloves... and Seven opening photos


Those of you who attended the huge opening of Seven last Thursday at the Warehouse, know that one of the highlights of the opening was the magnificent voice of Hisham Breedlove, who delighted the crowd with not only his painted body, but also with his magnificent voice.

Hisham walked around the seven galleries that make up the show, singing a variety of opera solos; and he was spectacular!

Adrienne Mills recorded the Breedlove's transformation in this series of photographs from the opening of Seven. See them here.

More photos from the opening below (all courtesy Adrienne Mills):


Breedloves talking with Seven co-curator Sandra Fernandez


Philip Barlow and Vivian Lassman




Breedloves with Rebecca Cross in front of her work



Hisham with Andrew Wodzianski and friend

Saturday, July 2, 2005

Me at Seven opening, courtesy of Adrienne Mills.

Wednesday, July 6, 2005

CNN to cover Seven

CNN News will videotape coverage of Seven sometime next week.

Since it is (apparently) of national interest... perhaps the local papers can consider it of local interest as well?

Thursday, July 7, 2005

Collector walk-through

I walked one of our best collectors through Seven today and he picked up three pieces from the exhibition.

These collector walk-throughs will continue throughout the exhibition; after all, Seven is supposed to be a fundraiser for the WPA/C.

Friday, July 15, 2005

CNN on Seven
CNN videotaped a segment with Kim Ward, the Acting Executive Director of the WPA/C. The interview covered the history and mission of the WPA/C, a bit about Warehouse, a few shots of the show, and a plug for the Artist's Directory. I do not have the schedule for the air times; hopefully next week. It will be on for the last five minutes at the top of the hour on CNN Headline News in certain markets. I do know that they will show the spot 8 times a day for one week before the show closes.

Thursday, July 21, 2005

WaPo on Seven
Jessica Dawson has a mini review of Seven in today's Washington Post's Galleries column. Read it here.

Sunday, July 24, 2005

CNN on SevenI am told that the CNN spots on Seven will be running this week; I'm on the road again this morning, so if anyone sees them, please let me know.

Wednesday, August 3, 2005

Watson on SevenAmy Watson of The Artery, reviews Seven at Thinking About Art.

Read the review here.

Sunday, July 31, 2005

Talking Done

Just back from the curator's talk at Seven. A nicely sized crowd showed up, which was a little surprising to me, since usually it has been my experience that these curator talks only attract the artists involved. Thanks to all the DC Art News readers who came by and said howdy.Bailey has a nice photo storyline of the talk here.He also managed to fall in love in the subway on the way to Seven and on the way back! The two photos below are courtesy of Bailey:

Me outside Warehouse discussing Seven

Me discussing Tim Tate's work

And the below photo courtesy of Mark Cameron Boyd:
Alessandra Torres discusses her installation

After the talk Alessandra and her family took me out to dinner to Lauriol, where I had some excellent Cuban food.

And Bailey also managed to whip out a monster letter to the Washington Post editors taking Jessica Dawson on for her dismissal of Seven.

It's OK; it's her right as a critic.

And yet, a bad review is better than no review at all. Jessica's expected dismissal of the show has nonetheless resulted in one major sale to an important DC collector.

In addition to Jessica's and John Blee's review, there are three separate other reviews being written right now, and hopefully they will be published soon; let's see what some other observers think.

Monday, August 8, 2005

Subject Matter

The visual arts carry a monkey on their back that none of the other genres of the fine arts have to deal with: the proprietarization of subject matter.

So, no contemporary artist would dare to, let's say, paint ballerinas (sorry but Degas closed that subject), or harlequins, etc.

And some subject matter, by the nature of the subject itself, would be labeled as saccharine by the nicest of critics. Say kittens, horses, puppies, mermaids.

Do we have a screwed up sense of what makes the visual arts tick or what?This powerful painting, titled "Allegory of a Gay Bashing" by Scott Brooks has been receiving a lot of attention in the "nude gallery" in Seven. It is an homage by Brooks to the brutal murder of Matthew Sheppard.

And this painting swings representational painting's most formidable weapon (and the one that keeps painting as king of the hill in spite of all the critics and curators trying to kill it): The ability to convey an entire and diverse range of emotions with just one glance."Allegory of a Gay Bashing" delivers horror, beauty, politics, history and homage all in one swoop.

And this tremendous work will probably never be sold to anyone by Brooks, because it would take immense courage to display this work of art anywhere in this nation; not just DC, but anywhere. Someone can prove me wrong and buy it from Brooks and display it in their home, or office or even a museum somewhere - but I doubt that there's a collector or museum in the USA with the cojones to hang this work.And to get to the beginning point of this ramble, in spite of the horror delivered by "Allegory of a Gay Bashing", many people get stuck on one area: the cute puppy and kitty at the bottom of the castrated nude.

I've been in the room when I hear people discussing it. It seems like the cute puppy and kitty sitting on the ground, and staring at the viewer, evoke a higher sense of revulsion than the castrated man himself.

I've noted people's sense of repulsion caused by juxtaposing the two disparate sets of images. I think that they are repulsed by the cute animals being forced to share a scenario with a tortured man. Why are they there? people ask each other, a note of discomfort in their voices. Even the eloquent Amy Watson was disoriented by the presence of the animals and (in her terrific review of the show) felt that they undermined the painting.Cute kitty and cute puppy... taking the attention away from disturbing image. How dare Brooks paint cuteness, especially in this context?

I don't know why Scott did it, but I think that it is the key that makes this painting truly repulsive and immensely successful all at once. Take them out, and you have a strong, powerful painting. Put them in, and you create a million questions, enormous angst and a desire to physically remove the creatures from the canvas itself.

And maybe without even realizing it, Scott has also reclaimed an artist's right to paint or draw anything that he or she so desires, and take the unjustified saccharinity of a subject and turn saccharine into anthrax with a few deft strokes of a painter's brush and a disorienting sense of juxtapositioning of subject matter.
Update: Sam Wolov has some thoughts on this subject.

Tuesday, August 9, 2005

Bailey on Wolov and Brooks 
Bailey interviews two of Seven's more controversial artists:Samantha Wolov here

and Scott G. Brooks here.

Wednesday, August 10, 2005

Capps on Seven
Kriston Capps polices Seven.

Read his review here.

Wednesday, August 10, 2005

Seven in Art Film
Seven will be filmed this week as part of a documentary on contemporary art being produced by Deno Seder Productions.

Their art films and videos have won top honors at the Paris Art Film Biennial at the Georges Pompidou Center, the Berlin Film Festival, the Taipei International Film Festival, the Chicago and Houston International Film Festivals, the New York Underground Film Festival and others. One of their films, "Andy Warhol," was screened at the Corcoran during their Warhol exhibition.

Update on the Women Artists of the DMV survey show: 

1. We are up to 15 venues, and working on a 16th! Over 400 artists selected so far! Know of an exhibition venue who may be interested? Email me!

2. The deadline to apply is waaaaay past! But, I keep receiving emails and guess what? If/when I find out someone who doesn't live in the DMV - then I replace!

3. Please pass the word to any and all DMV female artists whom you may know!

4. If you know any politicians, businesses,  or anyone willing to sponsor a prize, please contact me directly! I can use some help with this!

5. All details here: https://dcartnews.blogspot.com/2025/01/women-artists-of-dmv-all-that-you-need.html 

6. In my interpretation of their email to me, the Smithsonian Institution believes that female artists should be segregated in women only museums - read this and help!

The artists selected so far are listed below -- if you have emailed me, and I have not responded with a YES or NO, please email me again.  If I have responded and said YES, and you're name is not on the list below, please email me!

Abramson Cathy

Achu Shiri

Alexander Pixie

Alfieri Nicole

Altman Evie

Alzona Esperanza

Andreozzi Maremi

Antognoli Erin

Applequist Courtney

Arkin Sondra

Armstrong Sharon

Autenrieth Patricia

Azzariti Jennifer

Babich Nadya

Baca Patricia

Baker Caroline

Balamaci Suzi

Banks Michele

Banner Marilyn

Barbieri Ann

Bardin Sara 

Barfield Kate

Barker-Barzel Veronica

Barlow Jennifer

Barnes Victoria

Barnes Anne

Barr Tara

Barr Denée

Barsha Carol

Bass Holly

Battle Lisa

Beaudet Jennifer Lynn

Benderson Judith

Bentley Sarah

Birch Karin

Bishop Jennifer

Blankstein Lucy

Bledsoe Virginia

Blom Liliane

Bloom Julia

Boccella Bagin Carolyn

Bohlander Kristin

Bonds Prudence

Boocks Lori

Boozer Margaret

Borchert Vian

Bouie Anne

Brabant Jill

Bramante Kate

Brandt Claire

Breen Laurie

Brito Maria

Brotman Lisa

Brown Goldberg Carol

Bruce Amy

Buck Patricia

Bugash Dianne

Bullock Shante

Burley Melissa

Burrowes Adjoa

Button Linda

Byron Judy

Calamuci Anne

Calisti Denise

Calvin Stephane

Campbell Susan

Canuteson Sue

Carren Rachel

Casqueiro Elizabeth

Chan Amity

Chandrasekar Shanthi

Chang Mei Mei

Chen Hsin-His

Cherubim Anne

Clouthier Irene

Coelho Amanda

Coffey Elizabeth

Collier Bonnie

Cooper Cabe Diane

Cornett Ellen

Cornwell Kathy

Craigie-Marshall Lea

Crider Sheila

Crocetta Jacqui

Cullins Andrea

Curren Beth

Cybyk Andrea

Dames Sabrina

Danzinger Joan

Daryl KayLee

Dastur Delna

Davis Jenny

Davis Tanya

Davis Anna U.

Davison Elizabeth

Dawson Danni

Day Catherine

de Poel Wilberg Patricia

Dekel Limor

Demovidova Anna

Deninno Kristine

Dorantes Marcela Olivia

Dowell Margaret

Droblyen Jen

Durrett Nekisha

Early Mary

Eder Susan

Edwards Cheryl

Edwards Bria

Ellyn Dana

Elsner Rita

Erickson Hyunsuk

Ernst Sarah

Fakes LoGerfo Randa

Farley Ann

Farrell Johnson Cynthia

Federman Cogut Felisa

Feit Covey Rosemary

Ferrier Jodi

Finsen Jill

Fishel Sharon

Flanders Sheila

Fleming Kate

Folkenberg Judy

Fragione Cianne

Frank Barbara

Frank Mary Anella

Frederick Helen

Freestone Jenny

Fussner Emily

Gallegos O'Neill Helena

Gauthiez-Charpentier Marie

Geffem Roxana

Ghim Genie

Gibson-Hunter Claudia (Aziza)

Giganti Kate

Glatfelter Julia

Goldberg Margery

Goldman Susan

Goodman Judy

Goodman Janis

Goslee Patricia

Grand Freya

Granek Graciela

Greenberg Judith

Haden Josephine

Halprin Debra

Hamblett Beatrice

Harrison Elyse

Hasbun Muriel

Hashem Seemeen

Hassan Rania

Hayes Jennifer

Hecht Mira

Hehlen Alexandra

Helowicz Christina

Herman Michelle

Hester Francie

Hickson Dorothy

Hill Lisa

Hill Ellen

Hipschen Pattee

Hirons Jean

Hitchcock Sara

Hokkanen Mirka

Holt Leslie

Horrom Marilyn

Hostetler Susan

Hoysted Jackie

Hull Sarah

Hunter Michal

Ichiuji Melissa

Ilchi Hedieh

Jackson Selena

Jackson Selena

Jackson Jarvis Martha

Jakobsberg    Pauline

Januszkiewicz Barbara

Jarzynski Teresa

Jenkins Carmen

Johnson M. Jane

Jolles Ronni 

Jones Donahoe Wendy

Joyce Sousa

Kallista Jessica

Kanzler Jenny

Karametou Maria

Katalkina Anna

Katz Lori

Kauffman Sally

Kent Trish

King Kristina

King Megan

King Zofie

Klein P D

Klein Lillian

Kouyoumdjian Camille

Kretz Kate

Lago Arthur Suzanne

Lambert Bridget Sue

LaMont Susan

Lawler Linda

Lay Lauren

Le Ngoc

Lee Jun

Lee Kyujin

Leibman Sara 

Lescault Liz

Lesser Harriet

Levin Carol

Lillis Jennifer

Lin Kara

Lin Amy

Linowitz June

Liotta Barbara

Little Kirsty

Litwak Taina

Longbottom Estrada Hannah

Lowenstein Shelley

Lozner Ruth

Lukaszewski Laurel

Luttwak Dalya

MacKinnon Caroline

Maegawa Akemi

Maher Megan

Makara Susan

Malakoff Julia

Manalo Isabel

Mánlapaz Joey

Mann Katherine

Mansuino Michela

Marchand Anne

Marcus Jai

Marshall Lucinda

Marshall BJ

Marshall Wright Carolyn

Martire Isabella

Marx Amy

Massaro Sheryl

Matthews Sarah

Mayorga Carolina

Maza Borkland Elena

McAleer-Keeler Kerry

McCracken J.J.

McCrocklin Sophia

McCullough Donna

McFall Becky

McGrath Dale

McLean Marla

Meagher-Cook Anne

Mercedes Doriane

Michael Maggie

Miele Regina

Militaru Ramona

Milton Monica

Mojica Marily 

Montalbano Michele

Montgomery E.J.

Moody Sharon

Morgan Ally

Morris Meredith

Moser Lida

Mosley-Pasley Camille

Moumin Adrianne

Mueller Lindsay

Mussoff Jody

Mychajluk Delia

Naguib Heidi

Nassikas Georgia

Nelson Katherine

Neway Cheryl

Newmyer Carol

Niehuss Juliette

Niland Rounds Lori

Noble Sarah

Nolan Leslie

Nzinga Terrel  Zsudayka

Oaxaca Teresa

Offen Ronnie

Okropiridze Tea

Older Susan

Olivos Claudia

Olson Martha

Orgen Erica

Osher Marian

Packard Betsy

Parker Nicole

Parker Peggy

Paszkiewicz Cécile

Patin Dora

Peck Judith

Penhoet Kristina

Perdomo Monica

Pérez-Ramos Sandra

Perlman Gura Amy

Pham Anne

Picot Shelley

Ping Shen Pearl

Pinner Robin

Pocen Naan

Poku-Speight Patricia Edwine

Pollan Annette

Pollock Maryanne

Posey Kelly

Prince Sabiyha

Prinsloo Yolanda

Raab Susana

Raedeke Erin

Ravenal Rebecca

Ravenscroft Heather

Rebhan Gail

Reed Felicia

Reed Carol

Renteria Cindy K.

Ress Beverly

RG Ariana

Riccio Marie

Riley Leslie

Ringwald Marie

Rivarde Cindy

Robles-Gordon Amber

Rodman Sarah

Rogers Alla

Rogers Carolyn

Rojas Roxanna

Rosenstein Lisa K.

Rothschild Gayle

Rubin Leah

Rubin Carol

Ryan Christine

Sandell Renee

Sargent Madeleine

Satterlee Catherine

Sausele-Knodt Jeanie

Sausser Nancy

Schaefer Ann

Schindler Meghan

Schmitz Karen

Schwartzberg  Deanna

Segal Adi

Seifert Jan

Sestakova Martina

Sever Lian

Shah Swetah

Shalowitz Susan

Shaw Janathel

Shaw-Clemons Gail

Shelford April

Shelford April

Shows Gloria

Sigethy Alison

Sikorska Elzbieta

Silverthorne Alexandra

Sinel Ellen

Siple Pauline

Sircar Kannika

Slezak Alexandra

Slottow Joan

Smalls Yemonja

Smith Rhonda

Sousa Joyce

Southerland Judy

Springfield Molly

Srinivasan Pritha

Staiger Marsha

Stockton Eve

Stout Renee

Svat Terry

Swenson Dagmar

Szalus Veronica

Tanglewood Sue

Tanno Eleanor

Tasel Ozlem

Theberge Valerie

Thompson Kat

Thorpe Kim

Thorpe Kim

Tooley Jo Ann

Trow Pamela Joy

Underwood Patricia

Uskievitch Christine

Valk Tinam

Van Brakle Jessica

VanderMolen Neway Cheryl

Vasquez Gloria

Vera Rosa Ines

Vess Claudia

Vidales Marite

Viola Pamela

Volkova Elena

Walsh Anastasia

Walsh Lori

Walton Jenny

Warren Gobar Sandra

Way Andrea

Weiss Ellyn

Welch Higgins Mary

Wellman Joyce

Wilkerson Tracy

Wolf-Hubbard Marcie

Wolpoff Sharon

Wood Helen

Wrbican Sue

Yamaguchi Yuriko

Yancy Shawn

Yang Hana

Yurdin Suzanne

Zealand Alex 

Zeller Paula

Ziselberger Barbara

Zughaib Helen

My  application to help one of the 15 venues subsidize the costs of staging the show - will apply again!:

Hello June grant applicants!

Thanks for your recent application to the Awesome Foundation DC for all your amazing projects.

Unfortunately, you were not selected for this month's grant. We had many applicants with exciting ideas and inspiring projects that were heavily debated, and it was a tough decision, but the trustees ultimately chose the Karaoke in the Cemetery project as this month's award.

Please feel free to apply again in the future -- we award grants every month -- and best of luck in the future!

Graham & Amanda

-- 

Awesome Foundation DC  //  AwesomeDC.org

Fast-forwarding awesomeness in DC through $1,000 monthly micro-grants with more than $150,000 given locally over the past decade!

Maryland sweep!

My sincere congrats to the winners of the 2025 Trawick Prize: Bethesda Contemporary Art Awards! Out of more than 300 talented applicants, the jury chose these three as the 2025 award winners:

• Best in Show ($10,000): Danni O'Brien of Baltimore, MD
• Second Place ($2,000): Tara Youngborg of Elkridge, MD
• Third Place ($1,000): Bria Sterling-Wilson of Owings Mills, MD

The exhibition of the finalists' work will be on display at Gallery B from September 4 - 28. Gallery hours are Thursday-Saturday, 12-5pm and Sundays, 11am-4pm. The opening reception will be held next Friday, September 12 from 6 - 8pm.

Gallery B is located at 7700 Wisconsin Avenue, Suite E.