Washington, DC Art News

1. “Blasts” at G Fine Art.
2. Ian Whitmore at Fusebox.
3. Kehinde Wiley at Conner Contemporary Art.
4. Jiha Moon’s “Symbioland” at Curator’s Office.
5. Ed Ruscha's retrospective at the National Gallery of Art.
6. Sam Gilliam's retrospective at The Corcoran Gallery of Art.
7. Found Sound (various).
8. Visual Music at The Hirshhorn Museum and Sculpture Garden.

1. "André Kertész" at the National Gallery of Art.
2. "Burnversions" at the Reston Community Center.
3. "Gina Brocker: Photographs From the Series ‘The Donovans and Other Settled Travellers’ " at Irvine Contemporary.
4. “Shomei Tomatsu: Skin of the Nation” at the Corcoran Gallery of Art.
5. “Noelle Tan: Latent” at the District of Columbia Arts Center.
6. “Lida Moser: 50 Years of Photographs” at Fraser Gallery Georgetown.
7. “Reflections of France” at the Kathleen Ewing Gallery.
8. “Lewis and Clark Revisited: A Trail in Modern Day,” at the Department of the Interior Museum.
9. “Barbara Probst: Exposures” at G Fine Art.

Below is my list of the top ten gallery shows from DC in 2005. This year seemed even more difficult than last year, I had an original list of about ten others shows. The list is in order.

Nepotista caveats: I am on the board of DCAC and I purchased work from some of these shows.

1. Barbara Probst “Exposures” – G Fine Art – (4/2/5 – 4/30/5)
2. Chip Richardson “Set” – Fusebox (11/5/5 – 12/17/5)
3. Linn Meyers “Current” – G Fine Art – (10/29/5 – 12/10/5)
4. Jiha Moon “symbioland” – Curator’s Office – (9/10/5 – 11/15/5)
5. Noelle Tan “Latent” – District of Columbia Arts Center – (4/8/5 – 5/15/5)
6. Andrea Way “New Works” – Marsha Mateyka Gallery – (2/19/5 – 3/26/5)
7. Teo Gonzales “Recent Work” – Irvine Contemporary – (4/22/5 – 5/28/5)
8. The Empire of Sighs – Numark Gallery – (9/16/5 – 10/29/5)
9. Mary Early “Sculpture” – Hemphill Fine Arts – (11/5/5 – 12/23/5)
10. Nooni Reatig “All Real, All Steel” – NNE Gallery – (4/28/5 – 6/15/5)

I also wanted to note a couple of photography exhibits that were great for letting us see some of the Washington art world's movers and shakers in their earlier years:

Mary Swift’s Washington: The Arts Scene, 1975 – 2000 – Flashpoint Gallery – (7/21/5 – 8/27/5)

Wrinkle Free – Viridian Restaurant – October 2005

Fifty terrapin statues will soon appear on the streets of Washington and its suburbs in honor of the 150th anniversary of the founding of the University of Maryland.

The 100-pound turtles -- like the panda, elephant and donkey statues displayed on city streets in recent summers -- will be decorated by local artists and auctioned next fall. The money will go to student scholarships.

...art blogs are the most fascinating aspect affecting the edifice of contemporary art discourse, especially in the area of future market impact...

This exhibition marks the final show at JET Artworks’ gallery in Washington, DC before moving to Chicago’s West Loop gallery district in the spring 2006. Owners Jamil Farshchi, Erin Houchen, and Thomas Robertello wish to thank the art audience of Washington for their enthusiastic support of JET artists. JET plans to reopen in its new location with Thomas Robertello as sole owner/director.

At age five I wanted so much to write that I pestered an older playmate into teaching me. When I was seven, I took apart a little paper umbrella to find a tiny roll of Japanese newspaper inside. As I unrolled it, the magical characters were clearly trying to tell me something, but what? I ran to my parents and was told that only a Japanese person could read what it said. I daydreamed about a little girl my age on the other side of the world who could read and understand the tantalizing text. How I longed to know what it said! Meanwhile, the angular characters, lined up like little soldiers, spoke to me of an exotic world that sparked my imagination. This began a life-long fascination with the written word.

One thing that impresses itself on the viewer is that the writing is not immediately decipherable... It demands a closer look. There is an attempt to communicate something, but the "written paintings" ask the viewer to actively set out to decipher what is there. We are not the merely passive receivers of the words, but we are asked to participate in a conversation.

Already we are in a different realm than the everyday world of words, which, more and more, are crafted so as to be quickly read and understood. Words have in many cases been reduced in our age to a means to and end. Words are how we understand how to get something done - buying, selling, informing, or getting from one place to another. The more transparent words are, the more useful, seems to be the conventional wisdom.

Words here in this show become not a means to an end, but actually a nexus of mystery and relationship. Relationship is the key word here, because often there is a dialogue going on the painting - a dialogue between two voices. Sometimes the dialogue is humorous, as in "He Said, She Said"; but more often the dialogue points at something more poignant.

In the paintings entitled "Letter to," one can't help but think of Emily Dickinson's "Letters to the World," and implicit is the idea of a soul in an almost heroic attempt at bridging a divide - sending a letter to reach the shores of another soul, almost like a message in a bottle cast into the sea.

This is interesting because in the era of e-mails and instant messaging, it has become true that a hand-written letter has suddenly become a rarity. The hand-written letter in this day and age signals a special care and attention, and a reaching out of a special kind.

Another thought: Just as Emily Dickinson took the metric of the traditional Protestant hymn, and used it as a foundation for a completely original and personal artistic expression - these paintings use the traditional form of calligraphy, and, while staying true to that tradition, charge the writing, the words, with an utterly personal and original meaning.

Another thought: the Protestant "motto," "Sola Scriptura," is here being given a second look. Yes, these are words, but they are also images! From the Cattholic point of view, this makes complete sense, because after all the "Word became FLESH, and dwelt among us." In their being willed into a picture, into a substantiality (of sorts), these word-pictures are a symbol of God's own creative activity. The word is not an abstract thing, but is tied to personal meanings, and personal history, tied to the world, and, even more importantly, tied to God's own ongoing conversation with the world!

And that, finally is what is most powerful about the paintings. Without being too heavy-handed about it, they allude constantly to God's own wish to converse with us - a conversation in which we are not just passive recipients, but in which we must RESPOND. In that conversation, we are caught up in a love, which while essential to our fulfillment, is at the same time an ever-present mystery.

"if the devastation of the floodwaters in New Orleans has extended to my house on Capitol Hill. This work uses the house as painting support and is the latest piece in HOME wRAP, a group of monumental paintings that addresses the politicization of private life and the demise of domesticity."

"Under terms of the agreement with prosecutors, Tsombikos will have to pay $12,000 in restitution. He'll have to surrender just about anything he used to make graffiti, including stencils, spray paint and his computer.

And he'll have to do something that might be harder for him than jail time: remove graffiti. For 80 of the 200 hours of community service that he owes, Tsombikos must help rid the District of the sort of eyesores left by graffiti artists like him."

"Tsombikos is scheduled to start classes next month at the Corcoran College of Art and Design, attorney Michael Madden told the judge.

So when the prosecutor, Assistant U.S. Attorney Alessio Evangelista, asked the judge to order Tsombikos to stay out of the District until the sentencing, Madden was concerned.

"This is an open city," Madden said, noting the District's status as the nation's capital. And on a practical level, Tsombikos lives in its suburbs and has friends in the District, Madden said.

But Leibovitz was unimpressed, pointing out that the teenager had just pleaded guilty to a felony.

Between now and his sentencing, she said, Tsombikos is allowed to come to the District for classes and court but for nothing else.

And she kept in place an order banning him from carrying art supplies of any sort -- an order that Madden said would be an undue hardship given Tsombikos's studies.

Once again, the judge didn't give any ground.

'Go to school,' she told Tsombikos, 'but you can't carry supplies to and from.' "

"You are invited to anonymously contribute a secret to a group art project. Your secret can be a regret, fear, betrayal, desire, confession, or childhood humiliation. Reveal anything --- as long as it is true and you have never shared it with anyone before. Be brief. Be legible. Be creative."

As a curator working with video since 1971, I have encountered your argument several time before. As you may imagine, since the early days of video, the concern -- voiced in the Wash Po piece and in your response, has been the same: "Why watch video in a gallery when it is best viewed at home?"

On a certain level, that is true, if the work is intended for the social context provided by home viewing (on line or on TV). Or, if the work does not demand the formal support of a sculptural space (i.e. multiple monitors, live video components, projected work with complex sound elements, etc. etc.).

But finally it is also the social context of an environment that is not a theater and not a living room, but some other space generally (or formerly) reserved for the quiet contemplation of art objects that appeals to some artists using video to place information some may deem non-artistic (like documentary footage of everyday life). The friction of this mismatch is often a central element of the work, and not just a curatorial or artistic conceit.

But of course, when an artwork fails then all bets are off, and it can be revealed as lacking in many ways-- including it's use of gallery space.

David A. Ross

Your post made me nostalgic for the old porn joints. Benny's Home of the Porno Stars was one of my favorites.

It was one of the "classier" looking porn theaters. As a high school student, I walked by frequently on the way to my mother's job. I never went in but the uniformed doorman always yelled invitations to engage in obscene acts. I always had a creative string of obscenities to yell back at him. I think he really enjoyed that. I know I did.

My high school internship was at the DC Police Dept. As the lowly, stipendless intern, I stood in long lines to fetch lunch for the guys in my office in exchange for free lunch. If I was picking up a particularly big order, one of the guys would meet me on the way back to help carry bags or pick up drinks.

One of the carry outs I frequented was next to a place with $.25 XXX peep shows. From time to time, exiting patrons would follow me down the pedestrian walk way between 7th & 9th Streets and jerk off.

It brought me great pleasure to have a uniformed officer suddenly appear and scare the bajeebas out of the jerk-offs. Since they were office guys, they really weren't going to do anything to the jerk-offs but it was fun to scare them.

Alas, video, the internet and gentrification have changed all that. Even the bath houses and most strip clubs have evaporated. Now everyone gets home made sin instead of store bought sin. It's a shame I tell ya!

Innovation, in technology, is important in that it offers "new" tools and techniques. What is made with these new tools and techniques is typically derivative of what was made with the old tools. Most innovation is fueled by a desire to make an existing process more efficient.

Humans have been mixing pigment with fat to document the human condition for tens of thousands of years. The innovations of fresco, oil or acrylic are derivative improvements. Photography offered efficient alternatives to painting in the already established need to document contemporary life (events, people and places). Video offers alternatives to photography in that the linear format has the potential to distribute a more explicit narrative.

Efficiency and effectiveness are not the same. The limit to a tool's effectiveness is in the imagination of the maker. In art, I believe effectiveness is measure by the power of a work to engage people. Does the engagement temporarily distract someone from his or her daily existence or does it shift his or her paradigms and actions? Work premised on technology will be irrelevant when the technology changes. Work premised on the human condition has the potential to be timeless. Have there been innovations in light, color or form? What about fear, love, desire, freedom or apathy?

The "new" in art is that unique intimate engagement between an individual and his or her relationship with these larger issues. That fragile union between the ephemeral and the eternal is magic.

"Hilton Kramer, then a famously conservative critic at the New York Times, took the show as the perfect occasion to release some of his trademark bile. He called the exhibition "irredeemable," "pathetic," "a bore and a waste."