Sunday, February 29, 2004

che guevara We must be running out of graffiti hoodlums, because Jurg Lehni and Uli Franke have invented a graffiti robot. Cool or what?

Hektor fits in a suitcase, but can paint a wall-sized graffiti driven by Adobe illustrator. He is driven by two motors and between those motors hangs a can of spray paint, and a mechanism to press the cap!

Note to CNN's Al Matthews: Che Guevara was Argentinian - not Cuban!

Note to Larry Rinder, curator of the Whitney Biennial: Too bad Lehni and Uli are Swiss - they would have been a great pick for the 2004 show, uh?

Note to the Tate: Hello?

Just finished another great Success as an Artist business seminar to another satisfied group of artists - sore throat and all, we had a full turnout and a waiting list of 25 people for any cancellations, so we'll probably do another seminar in April.

Check out this cool website that allows one to create your own Jackson Pollock painting online. Another really cool art site is Debby Rebsch's Museum of Temporary Art, which delivers an interesting mix of online art and actual art storage and presentation, and offers a new challenge to our established concepts of art and museums.

You can have your artwork in the permanent collection of this innovative museum by:

1. Choose the object (size about 1.4 x 1.4 x 2.75 inches) you want to donate to the Museum of Temporary Art.

2. Download the exhibit sheet. Print it and fill out the fields Author, Description, Comments/Origin and Date. Don't forget to sign it.

3. Send both the form and artwork to:
The Museum of Temporary Art
c/o Debbie Rebsch
Vischerstr. 6/1
D-72072 Tübingen
Germany

4. You will receive one exhibit from the Museum and an authorized copy of the original exhibit sheet. Your contribution will be placed in the Museum (both real and virtual).

Deadline: None, it's an ongoing project.

Saturday, February 28, 2004

The Quilts of Gee’s Bend

Bars and string-pieced columns - by Jesse Pettway c. 1950sThere are some museum exhibitions that almost from the first seeds of their conception are destined to great success. And thus I will reveal in the second sentence that I will join the chorus of art critics, writers and curators across America who have lavished nothing but praise on “The Quilts of Gee’s Bend,” currently on exhibition at the Corcoran Gallery of Art in Washington, DC until May 17, 2004.

But in addition to the visual power that this exhibition brings to the viewer, I believe that it also teaches several lessons that I think have so far been missed, or perhaps avoided, by all the reviews and articles that I have read about this show. I will thus concentrate on those aspects of this ground-breaking show, but first a little background.Housetop – center medallion - by Gloria Hoppins c. 1975

The Quilts of Gee’s Bend display the craft produced by the women (mostly) of Gee’s Bend, Alabama, a very isolated, small African-American community in southwestern Alabama. As one of the quilters put it herself at the press preview, “the road ends in Gee’s Bend and there’s nothing else past us.” Descended from the former slaves of two area plantations, the inhabitants of Gee’s Bend (who call themselves “Benders”) have been historically an agricultural society that was geographically isolated and nearly self-sustaining at a bare survival level through agriculture.

And the women of Gee’s Bend not only plowed and planted and worked in the fields alongside their men, but also reared large families, cooked and kept house and made beautiful quilts; not as art, but out of necessity. These quilts first began to emerge outside Gee’s Bend in the 1960s, but are only now making a true impact across the rarified upper crust of the fine arts world; a world usually too pre-occupied by what’s new, rather than “discovering” the art of common people such as the wondrous ladies of Gee’s Bend.

And because the quilts were created out of necessity, and driven by the availability of material (a torn shirt here, a worn out pant-leg there, etc.) their designs grew out of practicality, rather than a conscious attempt to deliver art. This practicality, plus the physical constraints of making a quilt, then unexpectedly drives the designs of these quilts towards an astounding visual marriage with modernist abstract painting. But not by design, and not by intention – but by a combination of necessity, natural design talent and availability of materials.

Whodda thunk it? Art abstraction without art theory.

Chinese Coins” – variation - by Arlonzia Pettway, c. 1965 Ignore the fact that they are quilts, look at the exhibition and the Gee’s Bend quilts’ designs immediately “pass” for abstract paintings that can be absorbed into the modern abstract genre without a second thought. But unlike the work of abstract painters, schooled or browbeaten into art theory by curators and art critics, the quilts’ original designs come out of a “homegrown” and highly developed collective talent for structure, design and color. So much for “teaching” and force-feeding art theory.

“The quilts,” said Arlonzia Pettway, one of the quilters, “were made to keep us warm.” Art faculties all over the world should make a note of this.

The quilts are also now teaching us powerful lessons, not only about art, but also about American history, art criticism and political correctness.

The New York Times dubbed this show one of the “ten most important shows in the world,” and art critics who one would imagine would rather have their eyes poked out with a blunt butter knife than hang a quilt as “art” in their post-modernist flats have all lined up to applaud this show and connect the bridge between craft and fine art for the quilts of Gee’s Bend.

Is this honest art criticism? Are we applauding the artwork, or are we applauding the quilters?

I submit that they (and I) are doing the former not only because some of us recognize the visual power of the craft, but because we are also completely enthralled by the latter. Once you meet the beautiful, serene, elegant and honest women whose hands created these quilts, you cannot help but realize that there are no losers in their success.

Mary Lee Bendolph is 67 years old, and she responded to one of my questions by saying that when she was eight years old, her mother sold the quilts as cheap as $1.50 and even Mrs. Bendolph has sold them as cheap as $5.00. These days, an Arlonzia Pettway or Mary Lee Bendolph quilt can go for as much as $6,000, as the fame of the quilting community spreads around the world.

“The Good Lord provides,” they both say. You don’t hear that very often in a hoity-toity art gallery or museum.

Gee’s Bend is certainly not the only quilting community in the United States, probably not even the only African-American quilting community in the South, and as beautiful and historically important as the quilts are, they nonetheless fit right into the well-known “secret language” of visual arts among African Americans in the South – Gee’s Bend is a tiny, but important, component of that language.

I don’t think that this is a language that has been clearly understood by mainstream critics and curators so far, as it is a traditional language – far from the giddy, rarified atmosphere of contemporary art. Seldom is anything traditional in the radar of today’s art scene. And thus, this is a traditional visual arts language that has been largely ignored by most high brow art critics and institutions, so preoccupied and focused on what’s new, rather than what’s good.

It is thus ironic, given the Civil Rights history of the quilters, that the quilts of Gee’s Bend suddenly cross the art segregation line between craft and art; in fact a bridge that seldom a “craft” has crossed before, and also present an insurmountable dilemma to art critics and curators worldwide, as this is a show that would be suicide (because of today’s political correctness) to dislike via a bad review.

The quilts force tunnel-visioned art critics and curators to look outside the latest “trendy” videographer or back-lit photographer with mural sized boring photographs. This is an unrecognized accomplishment of this show.

And I also submit that these works should no longer be boxed into a segregated label of “African American art” or “fine crafts” or whatever – they are simply brilliant examples of what common people, without art theory, without labels, without “isms”, without agendas, without grants, without endowments and without college degrees can deliver: sublime fine art.

Great American art.



The Quilts of Gee’s Bend is on view at the Corcoran Gallery of Art from February 14 through May 17, 2004.

See historical photographs from Gee's Bend from 1937-1939 here. By the way, most of these photos are from the collection of the Library of Congress and taken under Federal Government sponsorhip; therefore, if you like any of them, you can actually get them directly from the Library of Congress at a great deal!

Buy the catalog, books and CD's about the Quilts of Gee's Bend at Amazon or through the Tinwood Alliance. You can also buy the video through the Corcoran here and the catalog here.

Voices of Gee’s Bend: A Gospel Brunch - Sunday, February 29, 2004 at 10:30 am.
The Cafe des Artistes on the ground floor of the Corcoran is celebrating the exhibition The Quilts of Gee’s Bend with a special Gospel Brunch featuring vocalists from several of the choirs of Gee’s Bend, Alabama. The pricing for the Gee's Bend Gospel Brunch is $23.95 for adults and $10.95 for children under 12 and includes general admission to the museum. Reservations are now being taken for seatings at 10:30am, 12 noon or 1:30pm. Please call 202.639.1786 to make a reservation.

Friday, February 27, 2004

Freelancer writer Mark Jenkins has been writing the "On Exhibit" column at the Washington Post Weekend magazine lately. Today he delivers a pretty good review of the Douglas Gordon show at the Hishhorn.

Gordon was also reviewed earlier in the Post's Sunday Arts by Blake Gopnik.

Bethesda Fine Arts Festival

Only a few days left to apply! The deadline is March 1, 2004.

The Bethesda Arts and Entertainment District is accepting applications for the 2004 Bethesda Fine Arts Festival, an outdoor Fine Art and Fine Craft festival that will take place in the Woodmont Triangle area of Bethesda, Maryland.

The festival will take place, rain or shine, on Saturday, May 15 and Sunday, May 16, 2004. 150 booth spaces are available, $275 for a 10' x 10' booth, $25 application fee. All original fine art and fine crafts are eligible, no mass produced or commercially manufactured products are allowed. $2,500 in prize money.

Deadline for applications is March 1, 2004. To download an application form, visit www.bethesda.org or send a SASE to:
Bethesda Urban Partnership
Bethesda Fine Arts Festival
7700 Old Georgetown Road
Bethesda, MD 20814

For more information contact the Festival Director, Catriona Fraser, at (301) 718-9651.

Note: This is a great opportunity for artists to take their artwork directly to the buying public. The top fine arts festivals, such as Coconut Grove in Florida get well over a million people in attendance, and this one, in its first year, will present area residents with a great opportunity to see 150 artists and fine artisans all in one place. Since it is a juried fine arts festival, only fine arts and fine crafts will be exhibited. One of the rare local opportunities where an art venue actually will get tens of thousands of visitors in two days.

For Marylanders...

The Maryland Humanities Council Has Two Grant Categories.

The MHC awards grants to support programs that engage public audiences in the Humanities - history; philosophy; languages; literature; ethics; linguistics; archaeology; comparative religion; jurisprudence; the history, theory, and criticism of the arts and architecture; and those aspects of the social sciences employing historical or philosophical approaches. The Council has recently revised the criteria and guidelines for its grant program, which can be found at their website.

There are two grant categories: Opportunity Grants (up to $1,200) which are accepted year-round on a rolling basis and Major Grants ($1,201 to $10,000) which are awarded in two competitive rounds per year. The next Major Grant round - for projects beginning on or after July 1,2004 - is about to start and Drafts Proposals are due March 1 to deadline April 15. For projects beginning on or after Jan 1, 2005, Drafts Proposals are due Sep 1 to deadline Oct 15, 2004. Earlier submissions are recommended so that they can give feedback or help. Complete information on Major Grants can be found at this website. If you have any questions or need further information, please contact Stephen Hardy at 410-771-0653 or email him at shardy@mdhc.org.

Oportunity for artists...

Deadline May 7, 2004
The City of Gaithersburg invites area artists to submit an application to exhibit in one of their four art galleries (Gaithersburg Arts Barn, Kentlands Mansion, Activity Center at Bohrer Park, and City Hall Gallery).

The exhibition season runs from October 2004 through September 2005. Applications are available as of March 1, 2004 and must be postmarked or received by 5 pm on May 7, 2004. For an application please call or email the Gallery Director, Andi Rosati at 301-258-6394 or email him at arosati@ci.gaithersburg.md.us.

Thursday, February 26, 2004

Arts Club Call for Artists...

Deadline: March 15, 2004
The Arts Club of Washington issues an annual call for entry for monthly solo exhibitions from September to June of each year in three on-site galleries. The deadline for submission is March 15, 2004. Visit their website or call the Director of Development at (202) 331-7282 to have an application forwarded online or by mail.

The Curator/Juror will be Scip Barnhart, who is not only an Associate Professor of Printmaking and Drawing at the Corcoran College of Art and Design and an Associate Professorial Lecturer of Printmaking at the George Washington University, but also one of our area's best printmakers.

Today is "Galleries" day at the Washington Post's Style section and Jessica Dawson reviews Roberto Matta: An Architect of Surrealism, at the Art Museum of the Americas.

Brazilian artist Lara Oliveira (currently an MFA candidate at GMU) debuts with her first solo exhibition in the Washington, DC area. Originally from Sao Paulo, this contemporary artist explores and embodies trans-nationalism and contrasts not only through her key artistic themes, but through her lifestyle and artistic development as well.

The exhibition is titled Planalto: Abstract Oil Paintings by Lara Oliveira and it is at:
Latin American Cultural Space Inc.
Consulate of El Salvador
1724 20th Street, NW, Washington, DC 20009
Phone: (202) 667-6674

The exhibition runs from March 4 – 28, 2004 with an Opening on March 5, 2004, from 6 - 8pm.



Glen Friedel opens at Gallery Neptune on March 12, from 6-9 PM with a show titled "Experiments in Radiance." Artist Reception Friday, March 12, 6-9 PM. Artist Talk, March 13, 5 PM.

Wednesday, February 25, 2004

John Perrault makes an eloquent case why figurative sculpture can often carry the content that truly abstract sculpture cannot.

After you read that posting by Perrault, then please also read an earlier one on an exhibition of figurative sculptures at the Met.

I find the huge variance around one theme fasciating, and a window into the humanity of an art critic - liking "X" here and disliking "X" there because of "fill-in-the-blank."

Just finished the radio show with Voice of America. I believe it will be broadcast on Sunday. In addition to Cuban art, I managed to also discuss the general Washington art scene, how deep and diverse it is, how many galleries there are, how our museums are among the best in the world, and more importantly in this crusade, how it is generally ignored and even dismissed by our own mainstream media.

Dr. Claudia Rousseau, who was one of Latin America's most respected art critics, and who now lives in Montgomery County and writes for the Gazette has written an excellent review of our current Figurative Painting Show now on exhibition at Fraser Gallery Bethesda.

Freedom is a huge word by Cirenaica Moreira I'll be interviewed by the Voice of America radio network later on today as part of their cultural broadcasts to the world. The interview will be about our current exhibition by Cuba's three leading female photographers.

These photographers's works are just sensational in my biased opinion, and this is certainly our key photography exhibition of the year for Georgetown. It's the debut in DC by two of them (Cirenaica Moreira and Marta Maria Perez Bravo as well as the second showing of Elsa Mora's photographs.

The exhibition hangs until March 17, 2004 at Fraser Gallery Georgetown. See my earlier posting here. The exhibition will also be reviewed by Lou Jacobson in tomorrow's Washington City Paper.

This is one of four Cuban art exhibitions that we have planned between the two galleries for 2004. Later on this year we'll have Sandra Ramos, then Aimee Garcia Marrero and then a second iteration of our highly acclaimed From Here and From There group exhibition of Cuban artists and artists of Cuban lineage from the Cuban Diaspora around the world.

President Bush’s proposed FY2005 budget recommends an increase of $55 million for the nation's cultural agencies. Proposed increases include $18 million for the National Endowment for the Arts for the new “American Masterpieces” initiative, $27 million for the National Endowment for the Humanities, and $10 million for the Office of Museum Services.

Nicole Bouknight is interested in learning about photography and is seeking an apprenticeship with a photographer in the Washington, DC area. She's interested in learning the basics in photography, including: lighting, composition and darkroom procedures, also interested in learning to use digital cameras. She is also interested in assisting a photographer with on-location and studio assignments for exchange in education. Contact Nicole Bouknight via email at oceansblu143@yahoo.com

Some International Photography Call for Artists:

Deadline: Friday 2 April 2004
WILDLIFE PHOTOGRAPHER OF THE YEAR COMPETITION.
The aims of this competition are to find the best wildlife pictures taken by photographers worldwide, and to inspire photographers to produce visionary and expressive interpretations of nature. The judges will be looking first and foremost for aesthetic appeal and originality, and will also be placing an emphasis on photographs taken in wild and free conditions. With digital images now being accepted, the competition judges will also be looking for images that are a true representation of life on Earth. Digital images submitted on CD are also accepted.

The competition is open to anyone, amateur or professional, of any age or nationality. Full details and entry forms are online here.

The 2003 exhibition is currently on display at The Natural History Museum, in London until 18th April, 2004.



Deadline: 25th March 2004
ANNUAL CALENDAR COMPETITION
An opportunity to have your work promoted to the creative industry by having it picked for a 2005 Calendar Competition featuring the photography, digital imaging and mixed media work being used in advertising, design and the publishing market sectors.

Categories: Spring, Summer, Autumn, Winter. Entry fees are 10% reduced if entries are received by 27 February 2004; however, if you reference "CN12Feb" the final deadline is 25th March 2004.

For entry forms e-mail info@refocus-now.co.uk and to read the guidelines visit this website.

Addison-Ripley in Georgetown has "Lost Images: Berlin Mitte," a photographic exhibition by Frank Hallam Day. The show goes on until March 27, 2004.



Guillermo Silveira presents "The Cosmic Egg." This myth relates to the recent total solar eclipse. Silveira introduces us to an insane man who hopes to convince the audience that globalization will be possible if we all worship the Cosmic Egg. He sings, recites poetry, dances with cosmic chix, and creates a song with the audience, in his effort to find world unity and peace among nations and generations.

Location: The National Theatre
When: Monday, March 1, 2004 at 6:00pm and at 7:30pm

Tuesday, February 24, 2004

There are infuriating "high art" double standards that continue to bother me, as one discovers more and more variations upon the same theme.

The Theme:
J. Seward Johnson's "art" has been brutalized by the press everywhere. The reason given is not that Seward is a bad guy or even a bad artist, but that his concept of taking someone else's two-dimensional art works - in Seward's latest case the Impressionists - and making them into a three dimensional "new" work is both kitschy and reprehensible.

The Hypocrisy:
1. As I whined about it before, the British artist brothers Jake and Dinos Chapman's early work was based on the famous Goya etchings Disasters of War. Initially they used plastic figures to re-create Goya in a miniature three-dimensional form, and like Johnson (later on), one of these 83 scenes became a life-sized version using mannequins. Yet the Chapmans are darlings of the art world and were favorites in the last Tate show.

2. Whitney Biennial selectee Eve Sussman's "art" is to take Velasquez's Las Meninas and turn it into "ten minutes of a costume-drama feature film.”

3. Jane Simpson is one of Artnet.com's Artists to Watch for 2004. Her stellar reputation in the artworld has been acquired partially by her creation of sculptures based on Giorgio Morandi paintings.

Am I the only one who sees that all of these people are essentially working the same generic concept as J. Seward Johnson - but unlike Johnson, they are being lauded and praised?

What am I missing here?

Van Gogh Photograph

Purchased for one dollar in an antique store! Read the story here.

Photoworks at Glen Echo Hosts Portfolio Critique.

Photography enthusiasts are invited to bring their portfolios to Photoworks’ beautiful new studio space to be critiqued at no fee by professional photographers on the Photoworks faculty. Over coffee and bagels, photographers with all levels of experience will have the opportunity to share their work and receive feedback and comment and participate in fun and informal discussions with both amateur and professional photographers. Portfolios can consist of either digital or traditional work in either black and white or color.

When: Sunday, March 14, 2004 - 10:00 a.m. – 12:00 noon

Where: Photoworks, Glen Echo Park, Glen Echo, Maryland.

Founded in the early ‘70s, Photoworks is a self-funded photography program that offers classes, workshops, lectures, exhibit space and an open darkroom. The classes are designed to teach all levels of students camera, digital and darkroom skills and processes to make fine art photographs, and emphasizes a strong summer program for young people. All Photoworks teachers are professionals working in editorial, commercial and fine art fields, and Photoworks is proud to have launched the careers of many well-known area commercial and art photographers.

Monday, February 23, 2004

WETA's The Program radio show is supposed to be (according to their own description) about exploring "trends, events and issues in the Washington-area arts scene."

Sunday's program was about the story of Betsy, The Fingerpainting Chimp.



The Call Box Project, a city wide project, is funded to make historical markers of the old, unused Fire and Police Call boxes. The Dupont Circle Citizen's Association (DCCA) has 23 boxes in the Dupont Circle Area and plans to mount a piece of art work in each box. DCCA does require that every picture include the fountain that is in the center of Dupont Circle, but the fountain doesn't have to be the only focus of the picture.

A description of the project, as well as the Artists' Call and Art Specs which give details on dates, times and methods of submitting art work, are available on this website.

Note: As the call documents state, the DCCA will not pay artists for their producing their work even if it is selected to be reproduced in a box. The artists who are chosen will still own their original art work and can sell, or do whatever they want, with it. Priority will be given to artists who live in, or work in, the Dupont Circle area. DCCA hopes to display art work from 23 different local artists, however, more than one piece may be accepted from an artist and art will also be accepted from artists who do not live or work in Dupont Circle. The level one submissions of art samples are due to March 31, but the deadline for final original art work that includes the fountain does not need to be submitted until the end of the year. More info: Carol Galaty carolgalaty@speakeasy.net.


Deadline: Friday, April 2, 2004.
In2Words: Numbers & Words. An exhibition in two parts exploring the use of numbers and words in contemporary art. Hosted by Target Gallery in Alexandria.

Part One: Numbers, juried by Sarah Tanguy, Independent Curator, Washington, DC, exhibit dates: June 10-July 18, 2004.

Part Two: Words, juried by Krystyna Wasserman, National Museum of Women in the Arts, Washington, DC, exhibit dates: July 24-August 22, 2004.

Deadlines for both exhibitions is Friday, April 2, 2004. Fee is $25 for slides of up to 3 works. All artists/all media. Broad interpretations encouraged. Artists can apply to either or both exhibits. Awards up to $650.

Call 703.838.4565 ext. 4 or email Claire at targetgallery@torpedofactory.org or send SASE to:
In2Words
105 N.Union Street
Alexandria, VA 22314

Sunday, February 22, 2004

Today's Sunday Arts in the Post is a rare treat with not only a Blake Gopnik review of Douglas Gordon at the Corcoran, but also an incredibly rare gallery review by Gopnik's predecessor, Paul Richard of a couple of area painters at Fusebox Gallery.

First Gopnik...

In his review of Gordon, Gopnik (who is a big fan of video art - in fact he was once asked "what should artists be doing today, if they are serious artists?" and he answered "only manipulated photography and video") gushes about Gordon. If the New York Times' Roberta Smith is giddy about Gordon, then Gopnik is nearly orgasmic as he heaves praise after praise on the Scottish artist's video work. You can also see a video of Blake discussing the show here. A video of a video show... if Blake slows it down to a video frame a minute... then is it great art redux?

I will visit this show next week and let you know which bodily function of mine it affects.

Paul Richard used to be the Post's Chief Art Critic until he retired a couple of years ago and was replaced by Gopnik. Unlike Gopnik, who rarely if ever visits area galleries and concentrates nearly exclusively on museum shows (at least so far), Richard's longevity at the Post allowed him to become deeply immersed in Washington area artists, galleries and scene. His review of Fusebox in today's Sunday Arts is a rare treat from the Post, and offers us an insight into a couple of things beyond the review itself.

First, this is the kind of visual arts coverage that the Post should be doing every Sunday, or at least once a month, not once or twice a year. Fusebox, which is a very hard-working gallery, gets the kind of coverage with this review that most area gallery owners would trade their first-born for (if any had children that is). That is good for Fusebox and for Washington art, and the Post should do it more often.

But the review itself is something else...

Richard uses his ample and first-hand knowledge of Washington art, artists and history to give painter Jason Gubbiotti something worse than a bad review (such as Jessica Dawson once gave painter Andrew Wodzianski when she destroyed him in this review). He gives Jason a patronizing review, expressing some interest here and there, but also handcuffing Gubbiotti too close to the Color School guys that Richard probably used to hang around with. He even dubs Jason's work as "fey."

I think that a review is good if it's really super passionate either way - such as Gopnik's glowing review of Gordon and Dawson's brutalizing of Wodzianski and C.M. Dupre or Gopnik's now famous destruction of J. Seward Johnson.

Richard treats Ian Whitmore, the other painter in the show, with less attention but a bit more kindness. I quite like Whitmore's work and have reviewed it favorably in the past, when he exhibited at "Strictly painting IV" at the McLean Project for the Arts - a show co-curated by Fusebox's Sarah Finlay.

But, in case you missed it, he also sends his successor, Blake Gopnik a not so subtle message in the last paragraph of the review. Blake's position on the issue of "painting is dead" is well-known. So Richard closes his review by writing:

"I liked these shows. What I liked best about them is that neither offers videos or blown-up back-lit photographs. It is nowadays a treat to encounter ambitious young artists who love the smell of paint."

Who says art criticism is boring? Am I the only one who'd love to read a review of the same show, independently done and written, by these two guys?

How about the The Quilts of Gee's Bend?

Annie Mae Young's Work-clothes quilt with center medallion of strips A week ago, someone named Will Haygood wrote a spectacular Washington Post review/article about the "Quilts of Gee's Bend" exhibition at the Corcoran.

It's not only well-written, but Haygood really gets to the human aspect of this exhibition - the strong, beautiful women of Gee's Bend - in a way that not many of us could. It is one of the best pieces of written art - about art - that I have read in the Post in years.

This was a major, multi-page review in Sunday Arts, and while it was brilliant, I am somewhat curious as to why this Post writer, rather than one of the Post's art critics, wrote the piece.

The New York Times dubbed this show one of the “ten most important shows in the world,” with high brow critics like Kimmelman heaping well-deserved praises all over it, and having seen it myself, I will tell you that it is without a doubt the best quilt show that I have ever seen.

So with a giddy endorsement from one of the most influential art critics in the nation, writing from the art pages of the most powerful newspaper in the world, it is curious that none of the Post's art critics covered this show (so far) and with the huge extravaganza of a review last Sunday, it seems that the Haygood review may be it.

Possibly because Blake Gopnik had reviewed the show earlier when it was in New York. And let me tell you - it is one of Gopnik's best written and more insightful reviews to date.

The show will be up at the Corcoran until May 17, 2004. Plenty of time for my theory (unlike Einstein's dark matter theory) to be proven wrong.

Einstein's prediction of the existence of "dark energy" (a force that works against gravity) has been confirmed.

Thus now we know that the Universe, which is about 13.7 billion years old, has about 30 billion years left before it "ends."

That's a long time for visual artists to try to come up with something that's "new" in order for them to be "good" in the eyes of many critics and curators.

I'll stick to drawing.

Health Insurance for Artists...
The Artists' Health Insurance Resource Center database was created in 1998 by The Actors’ Fund of America, with a grant from the National Endowment for the Arts, as a health insurance resource for artists and people in the entertainment industry.

Since then, with support from The Commonwealth Fund, it has expanded to include resources for the self-employed, low-income workers, the under-insured, the uninsured who require medical care and many other groups.

Visit them here.

Earlier I posted about Douglas Gordon at the Hirshhorn...

Well... in a first for the Hirshhorn --- the Museum will open the Douglas Gordon exhibition for twenty-four consecutive hours, 24 Hour Psycho (1993), the artist's famous video installation that stretches the Hitchcock classic into a twenty-four experience, is the inspiration for this all-night happening. This unique museum drop-in event, will also include music, gallery discussions, and a "Meet the Artist" interview with Douglas Gordon conducted by the Hirshhorn Director of Art and Programs and Chief Curator Kerry Brougher on Sunday at 3 p.m. in the Ring Auditorium.

24 Hour Access for 24 Hour Psycho starts on Saturday, February 28, 5:30 p.m. through Sunday, February 29, 5:30 p.m.



The Arlington Arts Center, currently under renovation, is taking applications for its eight individual artist studios. Deadline is March 1, 2004. Call 703-797-4573 or email artscenter@starpower.net for more information. The application can also be downloaded from the center's website at www.arlingtonartscenter.org.

Saturday, February 21, 2004

Deadline February 28, 2004
Capitol Arts Network presents a National Figure Show “The Human Figure,” a Juried All-Media Exhibition, sponsored by the Washington Gallery of Photography & Virtual Pose, April 9-May 5, 2004.

All figurative work eligible, including painting, sculpture, photography, fiber art, and others. Cash awards and prizes. Eric Westbrook, juror. Slides or jpegs due Feb. 28. Entry fee: $25/4 entries, $5/each over. Prospectus at their website, or call 301-661-7590 for further info or email them at capitolarts@hotmail.com.

Exhibition held at Washington Gallery of Photography, 4850 Rugby Ave., Bethesda, MD 20814.

The Bethesda Arts and Entertainment District is accepting applications for the 2004 Bethesda Fine Arts Festival, an outdoor Fine Art and Fine Craft festival that will take place in the Woodmont Triangle area of Bethesda, Maryland.

The festival will take place, rain or shine, on Saturday, May 15 and Sunday, May 16, 2004. 150 booth spaces are available, $275 for a 10' x 10' booth, $25 application fee. All original fine art and fine crafts are eligible, no mass produced or commercially manufactured products are allowed. $2,500 in prize money.

Deadline for applications is March 1, 2004. To download an application form, visit www.bethesda.org or send a SASE to:
Bethesda Urban Partnership
Bethesda Fine Arts Festival
7700 Old Georgetown Road
Bethesda, MD 20814

For more information contact the Festival Director, Catriona Fraser, at (301) 718-9651.

Terry Parmelee's paintings and prints will be exhibited at Jane Haslem Gallery through mid-April. Opening reception is today, February 21st, noon to five, and by appointment. The show is held in conjunction with the publication of Parmelee's Catalogue Raisonne, "Terry Parmelee Prints, 1966-1999". The gallery is located at 2025 Hillyer Place NW, phone: (202) 232-4644.



Kelly Towles will be featured in Taking Over the Art Store: A Group Show. Opening reception: tonite February 21 at 10pm. Location: the Art Store in Georgetown. 3019 M St, NW (Between 30th & 31st Street). 202/342-7030.


"Black: A Celebration of a Culture", presents the vibrant panorama of 20th-century black culture in America and around the world in more than 500 photographs from the turn of the last century to the present day. Each photograph, hand-picked by Deborah Willis, one of America's leading historians of African-American photography, celebrates the world of music, art, fashion, sports, family, worship or play.

Willis is a MacArthur Fellow and author of The Black Female Bodyand Reflections in Black. Her latest book is A Small Nation of People.

At Vertigo Books, 7346 Baltimore Ave. College Park MD 20740 Tel: 301-779-9300

Friday, February 20, 2004

Gordon as Monroe, Cobain, et al... Lee Stalsworth/Museum of Contemporary Art, Los AngelesNew York Times' art critic Roberta Smith is absolutely giddy about the Douglas Gordon show at the Hirshhorn.

I haven't seen the show yet (but will) and I will be honest enough to admit that I am already predisposed to dislike it, or rather to be bored by it, which is what happens to me with a large percentage of video "art."

The reason (I think) is that often the concept of the video artist's "art" is a lot more interesting than the final product. Add to that that "video art" is more often than not a combination of video and still photography - really a traditional mish mash of genres, and by the second or third video in a row by the same guy, I find myself just reading the wall text and looking at the still photographs and just barely glancing at the actual home movie... oops! I mean "video art."

But not Ms. Smith, who finds that Gordon's work "can trigger an almost giddy optimism about the general state of contemporary art and refresh your confidence in the possibility of artistic progress, even in these postmodern times."

Gordon's most famous and acclaimed work — famous indeed, but I wonder how many people have actually seen it in its entirety — is "24 Hour Psycho," an installation in which Alfred Hitchcock's famous movie thriller is extended to 24 hours, instead of proceeding at the usual speed of 24 frames per second. You can see it at the Hirshhorn - pop corn prohibited.

Progress is progress...

photo by Perez Bravo Today is the third Friday of the month and thus the Canal Square Galleries (31st Street NW and M Street in Georgetown) will have their monthly openings. We will have what I consider our key photography show of the year.

It is work by three of Cuba's most gifted female photographers: Elsa Mora, Marta Maria Perez Bravo and Cirenaica Moreira.

The openings go from 6-9 PM and are catered by the Sea Catch Restaurant. They are free and open to the public. Also tonight, instead of our usual Sangria, we will be serving Cuba Libres (Rum & Coke), and playing Benny More music to get in the Cuban mood.

See ya there!

Thursday, February 19, 2004

Sometime tomorrow morning this site will receive its 5,000th visitor!

Today's Washington City Paper has a great profile article by Matt Sommers on legendary 83-year-old photographer Lida Moser, who now lives in Rockville.

Two of Moser's vintage photographs sold at Christie's auctions two days ago for $1,000 and $3,000 respectively. Her vintage work has gone as high as $4,000 in 2002.

As far as I know, Moser is the only Washington area photographer whose work shows up regularly in most major international photography auctions and yet she's never had a Washington museum show - but she's had solo shows in museums in Canada and the Scottish National Portrait Gallery, and locally her work is in the permanent collection of the Library of Congress and also the National Portrait Gallery and her photographs are in the permanent collections of dozens of museums around the world.

Yet not one single Washington area museum seems interested in organizing a Washington show of this 83-year-old dynamo, whose life is currently being filmed by Canadian television.

Suggestion to the National Museum of Women in the Arts: Wake up!

In case you missed the Kojo Nmandi show earlier today - here's the audio of the show. I'm towards the last 20 minutes of the show.

Don't forget to tune in today from 1:30 to 2:00 to WAMU 88.5 FM, where I will once again be a guest at the Kojo Nmandi Show.

I will be discussing the area's art scene and gallery and museum shows coming down the next few weeks, as well as mentioning some of my favorite area artists.

I believe that they will be taking phone calls from listeners, so if anyone has a question or comment for me, I should be able to take it on the air.

Wednesday, February 18, 2004

Tomorrow I will once again be a guest at the Kojo Nmandi Show on WAMU 88.5 FM from 1:30 to 2:00 PM. I will be discussing the area's art scene and gallery and museum shows coming down the next few weeks. Please listen in, as I believe that they will be taking phone calls from listeners.

I'm still in Tampa, and today I hope to be able to go visit the Salvador Dali Museum in St. Pete. Will be returning to DC later tonight.

Tuesday, February 17, 2004

AMPOFO, which deals in African Art Collectibles has an Open House Sale from February 20-22 featuring new works by photographer Nestor Hernández, one of my favorite DC photographers. 12 noon to 8:00 P.M. and other days and times by Appointment

3901 Ames Street, N.E.
Washington, D.C. 20019
202/397-2387

Monday, February 16, 2004

I'm in Tampa - flew here on Sunday night, and on the way here I managed to wipe out my laptop's modem, so have been unable to log on and put good stuff here. Will make it all up soon.

This coming Friday is the third Friday of the month, which means that the four Canal Square Galleries in Georgetown will have their opening nights. Catered by the Sea Catch Restaurant - from 6-8 PM. See you there!

Job in the Arts
Jean Efron Art Consultants: Project Manager - This position is an opportunity for a qualified applicant to gain exposure to local and national artists and galleries as well as to business management. An enthusiastic, highly organized, efficient, detail and people-oriented person is needed to manage projects and assist in the operation of an established art consulting firm. College grad with background and interest in contemporary art and a minimum of two years work experience is required. Computer expertise is essential with a knowledge of or ability to learn quickly Access and Photoshop and to maintain a visual digital library. Comfort with Internet research is required. Marketing and PR experience is desirable. Duties include project and office administration (organizing and maintaining files, shipping, framing, invoicing); client and artist development, organizing schedule for gallery and artist studio visits. Position can be full or part-time and is permanent with benefits. Salary: mid to high 30's; negotiable depending on experience. Please fax cover letter, resume and salary requirements to Jean Efron Art Consultants, LLC, and (202) 223-0275.

Opportunity for artists...
Deadline: April 4, 2004.
The Art Institute of Portland Gallery is accepting proposals for future exhibitions in 2005. Proposals must include a cover sheet introducing the artist and reasons for wanting to exhibit in the Gallery, 10-20 slides or digital images on CD of original work (only work that is to be considered for the exhibit should be submitted), artist statement including how the artwork will help further the educational mission of the design college, artist biography/resume, detailed image list with dimensions, media and year created for each image provided. If submitting slides, each slide must be labeled with artist name, dimensions, media. The Art Institute here. All proposals are to be submitted to:
Marlynn Schotland
Director of Public Relations
The Art Institute of Portland
1122 NW Davis Street
Portland, OR 97209.

Sunday, February 15, 2004

DC photographer Joseph Mills, who had one of the best photography shows I have ever seen a while back at the Corcoran (curated by Paul Roth) has himself now curated an exhibition titled "Crosscurrents 2004, Room Full of Mirrors" at The Art Gallery of the University of Maryland. It will be up until February 28, 2004. See the exhibition online here.

The Crosscurrents exhibition series was established in the early 1990's to link
The University's Art Gallery directly with the Greater Maryland and Washington, DC contemporary art scene by creating a dialogue with local curators and artists. I must admit that this is the first time I've ever heard of it, so hopefully this will help spread the word about it.

Room Full of Mirrors includes works by Noah Angell, Marci Branagan, Colby Caldwell, Norman Carr, Victor Carroll, Francesca Danieli, Mary Del Popolo, Frank DiPerna, Marlon Fuentes, e. mars, Joseph Mills, Martha Olsson, Michael B. Platt, and Paul Roth (who curated the Mills exhibition at the Corcoran). The photographers examine photography, photomontage, multimedia, and collage in various ways.

The Art Gallery of the University of Maryland is in the Art-Sociology Building in College Park, MD. For information call 301.405.2763.

Joseph Mills is represented locally by Hemphill Fine Arts.

I am finishing a review of the Corcoran's "Quilts of Gee's Bend" exhibition, currently on display - once that's done and sent to my editor I will write a second one for posting here.

Sophia McCrocklin is a Washington area quilt artist - I reviewed her work several years ago and was quite impressed by it. Her new work just came down after being on exhibition at Spectrum Gallery for this past month. She is one of our area's most innovative artists working this medium.

Titled "Colors of Optimism", this recent work displays Sophia's heritage of quilt art to convey a personal landscape.

One of Washington's most active independent curators is Sarah Tanguy.

"Pattern & Purpose": works by Juliane Min, Melina Nicolaides, Rex Weil, and Elizabeth Whiteley; curated by Sarah Tanguy is currently on display at The American Center for Physics until April 16, 2004.

The Center is located at One Physics Ellipse, College Park, MD 20740. For viewing information, please contact Eva Adams, tel: 301-209.3125 .

Looking for a gallery?

Spectrum Gallery, 1132 29th St NW, in Georgetown (Phone 202-333-0954), is looking for new members and having a new member jurying panel on Saturday March 13, 2004. Please call the gallery for info or visit their website.

Opportunity for photographers...

Katherine Ware, the Curator of Photographs at the Philadelphia Museum of Art, will be the juror for the 2004 Photo Review Photography Competition. The Photo Review will reproduce accepted entries in its Summer 2004 issue. Also, the prize-winning photographers will be chosen for an exhibition at the photography gallery of The University of the Arts, Philadelphia. Awards include Microtek ScanMaker i900 scanners, a $350 gift certificate from Calumet Photographic, and $500 in cash prizes. An entry fee of $25 for up to three prints, slides, or images on CD and $5 each for up to two additional prints, slides, or images entitles all entrants to a copy of the catalogue. In addition, all entrants will be able to subscribe to The Photo Review for $30, a 20%
discount. All entries must be received by mail between May 1 and May
15, 2004.

For a prospectus and details, send a self-addressed, stamped
business-size (#10) envelope to:
The Photo Review
140 East Richardson Avenue, Suite 301
Langhorne, PA 19047.

The prospectus may also be downloaded from The Photo Review website. For further information call 215/891-0214.

Saturday, February 14, 2004

And the quilt bandwagon rolls on...

Deadline April 20, 2004
Artists may submit up to three (3) art quilt entries. Several major prizes will be awarded during a special preview night, Aug 18, 7-9pm. Work must be original in design. Derivative work or work created in a class with the aid of an instructor is not acceptable. Entry fee is $25.00. All artwork will be insured by R&M Associates, Inc., which is the parent company of 3G Productions. 3G Productions will retain a 25% commission on any work that is sold. May 20-Notification of acceptance; Aug 2 – Deadline for receipt of accepted work; Aug 18 – Opening preview and awards ceremony; Sep 1 – Artwork returned to artists. Send the following to:
3G Productions
2717 Main Street
Glastonbury, CT 06033

Two professional slides for each entry – one overall view in full frame, and one close-up detail (showing approximately 12" x 12"). Slides must be clearly labeled with: Artist’s name; The title of the piece and dimensions (W x H) in inches; The word "top" indicating the top edge of the piece. Labeling should appear on the side which displays the right-reading image when held to the light; check $25; SASE for slide return; An artist’s statement specific to each piece (no more than 100 words). E-mail Jmahley@aol.com for entry form.

Excursion by David FeBland

Great opening crowds last night in Bethesda and David FeBland, whose work has been called "a revival of the Ashcan School" and also "the leading edge of the new urban realists" by the New York Times came through with a great sale. That's his "Excursion" above.

Friday, February 13, 2004

Tonite is the Bethesda Art Walk. See you there.

Opportunities for artists:

No deadline. Now booking shows for July 2004 through June 2005.

The City of Greenbelt, Maryland hosts 16 professional exhibitions annually in two galleries. Artists working in any medium are welcome to apply for inclusion in curated solo and group shows. Preference is shown to artists interested in conducting public programs in conjunction with their exhibition, such as talks, workshops, and collaborative public art projects. Compensation is available for teaching. Guidelines provided on request. Visit the
website for details.

Thursday, February 12, 2004

Jessica Dawson has a really good piece in today's Galleries column in the Post.

She eloquently discusses the Maryland Institute College of Art's "Comics on the Verge" exhibition, although I would disagree with her that by presenting this exhibition, "the university makes a radical statement" and thus "contends that cartoonists are in a league with fine artists;" statements that she writes in her review opening lines.

As Jessica mentions later in the article, comic book art and artists have been finding their way to galleries and museums for years now, and although there's still somewhat of a mental segregation in the minds of "high art" segregationists, I think that the battle has been fought and won, especially now that anything and everything is art.

Thus, although this sounds indeed like a terrific exhibition, and I will go and see it (and comment on it later), my first reaction is to disagree with it being a "radical statement."

One of the very first pieces of artwork that I ever bought was a pen and ink drawing by Robert Crumb when I was living in Southern California in 1976. Back then I used to collect what we then called underground comic books, and I must admit that I was amazed when Bay area galleries started showing Crumb and other underground cartoon artists' works as art. By the middle 80's Crumb was an international cult artist, and even appeared in Newsweek and other magazines. In 1990 the Museum of Modern Art, in New York City, included his work in an exhibit called "High and Low" which also featured work by other cartoonists; this was the crowning (14 years ago) of comic book art as "high art."

Death Dealer by Frank Frazetta Another cartoon (and later book cover) artist that I purchased back then was Frank Frazetta, who was my childhood art hero and without a doubt the most influential illustrators (on other illustrators) from the 50's to the present. At one point Frazetta's book covers could guarantee so many sales, that book publishers would bid for his paintings and then hire a writer to create a story around the painting! His Death Dealer (shown to the left) is the best selling poster in US history and has been reproduced endlessly on paper, canvas, action figures and sculptures. This is all of course, very "low brow" art to most people - except Sotheby's and Christie's and art collectors, as Frazetta's originals now auction at incredible prices for a "low brow artist."

Wednesday, February 11, 2004

It's enlightening to read two art critics, both writing from important pulpits, write independently of each other about the same show. First this guy and later, this lad.

Note the stylistic differences, and how one critic brings the show to us, coupled with opinions and passion, while another rambles inaccurately about history and without an iota of proof, submits an erroneous theory.

Residency in Canada
Gibraltar Point International Artist residency Program
Deadline: March 29, 2004.
The Residency Program provides Canadian and International professional artists from all disciplines with a subsidized opportunity to live and work at the Gibraltar Point Centre for the Arts on Toronto Island (Toronto, Canada) from June 1-30, 2004.

Ten solo artists will be selected. Information and detailed application procedures are available on the Artscape website.

For more info: Toronto Artscape, phone: 416.392.7834 x.2 or email Susan.