Self Portraits~August 16

Self-Portrait  by  Alfred Stieglitz

Negative 1907; print 1930 / Gelatin silver print / 9 3/4”x7 1/4” / The J. Paul Getty Museum, Los Angeles

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Self-Portrait  by  Henry Ossawa Tanner

c.1910 / 8 1/2”x8 3/8” / Pencil and conte crayon on paper / Smithsonian American Art Museum

Smack Mellon Artist Studio Program

Since its inception, Smack Mellon has evolved into an organization that supports many artists through a highly respected exhibition program and artist studio program, and also benefits young people and the larger community through quality education programs. Accordingly, our organization’s vision has been critically and artistically acclaimed.

The Artist Studio Program was launched in 2000 in response to the crisis of available affordable space for artists living and working in New York City. The program provides six eligible artists working in all visual arts media a free private studio space accessible 24/7 and a fellowship (dependent on funding). The program runs for an eleven-month period from June to May. The studios are located on the lower level of our building at 92 Plymouth Street in Dumbo, Brooklyn and range in size from 250 to 300 square feet. The program does not provide living space.

Applications open on Friday, September 29, 2017.
How to Apply~

Prize for the emerging artist of the year – Luxembourg Art Prize

The Luxembourg Art Prize aims to reveal and promote talented artists who have yet to establish a profile on the contemporary international scene. Its function is to discover artists, and it is open to any artist, amateur or professional, with no limits on age, nationality or place of residence. The Prize is aimed at artists working in one or more of the following media: drawing, printing, installation, painting, performance, photography, digital art, sculpture, sound art, video, mixed media, decorative art (textiles and material, glass, wood, metal, ceramics, mosaic, paper or other techniques).

  • No age limit on submissions
  • Open to amateur and professional artists
  • All nationalities are eligible
  • Open to artists from all the countries of the world
  • Entry for the Luxembourg Art Prize 2017 is subject to the payment of an entry fee to be paid on-line.
  • Candidates’ entries must be completed on-line in the Candidate Space by 31 May 2017 at midnight.
  • grant of 25,000 euros is awarded by the gallery for the 2017 edition of the prize.

More information and entry form here: Prize for the emerging artist of the year – Luxembourg Art Prize

Ashurst Emerging Artist Prize 2017


Now open for entries:
 Ashurst Emerging Artist Prize
£7,000 prizes with solo exhibitions in 2017, in London, UK
Deadline: January 15, 2017
The Ashurst Emerging Artist Prize 2017 is now open to entries from artists living anywhere in the world. Entries may use any medium in a range of formats, including painting, photography, mixed media or sculpture. Use the link below to submit your artwork.
Sponsored by Ashurst LLP.
Supported by Cass Art.
Supporting Rich Mix London.

Bottoms Up!


Hanging an art exhibition can involve a number of decisions, such as what height to hang paintings on the wall or how to light the pieces, but one thing which you’d imagine wouldn’t be subjective is what orientation to use. It’s probably best to hang a painting right side up, yes? However, accidents do happen.

The most famous example is probably Le Bateau by Matisse. In 1961 The Museum of Modern Art in New York displayed it upside down for 47 days until a determined visitor was able to convince the director of the museum that it was hung incorrectly.

Another orientation error, this time sideways rather than upside down, appears to have been made by the Tate Modern in London. The Tate has hung two paintings from Rothko’s Black on Maroon series either vertically or horizontally at various times. Assuming that the artist’s signatures indicate which orientation he preferred, then horizontal is the correct orientation.

There are also stories of The Lawrence Tree by Georgia O’Keeffe being hung upside down in a Connecticut gallery, and there are comments she made in letters which confirm the painting was hanging incorrectly for years. A search of Google images indicates that the confusion continues to this day.

Van Gogh’s Grass and Butterflies was evidently hung wrong-side-up in 1965 by the National Gallery in London. Another story I see mentioned frequently is that in 1936 a seascape by Spencer Nichols was hung upside down in a New Jersey museum. These anecdotes appear fairly often on the internet, but never with any citations, so I can’t be sure if they actually happened or are merely the visual arts versions of urban history.

Perhaps a more scientific approach could enlighten us as to the logistics of determining correct orientation.

Abstraction allows the artist to focus on composition and medium rather than on subject matter. In the process of creating a modern artwork, an artist may make an aesthetic decision regarding the orientation at which the work should be hung, based on their intended message. The correct orientation is often specified on the back of the canvas. However, this intended orientation is not always obvious to others viewing the work, especially if there is no recognisable content at all, which raises questions about aesthetics. Is there sufficient information in a modern artwork for a naïve viewer’s judgement to align with the correct orientation? Is the impact or aesthetic value of a work diminished by viewing at an incorrect orientation?

Or perhaps not.

Japan Society’s “Life of Cats: Selections from the Hiraki Ukiyo-e Collection”

catFri, Mar 13 – Sun, Jun 7, 2015
333 East 47th Street
New York, NY 10017

Life of Cats: Selections from the Hiraki Ukiyo-e Collection illustrates the depth of this mutual attraction by mining the wealth of bravura depictions of cats to be found in ukiyo-e woodblock prints of the Edo Period (1615-1867).

Roughly 50 items will be replaced with new works halfway through Life of Cats—Rotation 1 will be on view from March 13 until April 26; Rotation 2 will be on view from April 29 until June 7.

“Picturing Mary: Woman, Mother, Idea”

Art Exhibit in Washington Explores the Madonna as Woman, Mother, and Idea
Portraits of the Virgin Mary are on show at the National Museum of Women in the Arts until April 2015.

She’s the most recognizable woman in the world. Her image spans a wide range of centuries and styles, from reverential portraits by old masters like Michelangelo to cheap plaster statues to the controversial collage by Chris Ofili of a black Madonna studded with elephant dung that caused an uproar when exhibited at the Brooklyn Museum in 1999.
But who is the Virgin Mary, and what do we see when we gaze at her portrait? On December 5, the National Museum of Women in the Arts in Washington, D.C., opens “Picturing Mary: Woman, Mother, Idea”—an exhibit of 70 artworks, from the 14th through the 19th centuries, lent by the Vatican Museums, the Uffizi Gallery, and the Louvre, among others.


Monsignor Timothy Verdon, canon of the Florence Cathedral, is guest curator of the exhibition. “Mary is one of the main themes in Western art for more than 1,000 years,” Verdon explains. “Not only are there more images of her than of anyone else — including her son — her son is often part of the image, but the interest of the image is normally more focused on Mary, who is the adult, than on the Christ child.”