Manon Cleary

I first met Manon Cleary's artwork sometime around 1993 or 1994. It was at an exhibition at Addison Ripley's old space behind the Phillips Collection. Back then there were several galleries in that space and I was making the rounds for some art magazine long since gone, and literally walked into the show without knowing anything about Manon Cleary.

I was hypnotized by what I saw. It was clear to the most casual observer that here was an artist who not only had the most enviable set of technical skills that I had ever seen, but also an equally enviable ability to grab a slice of energy out of her subject matter and deposit it into the artwork itself.

I was so envious of this belligerent dual skill, so powerfully individual in a DC art scene back them that eschewed any sort of confrontational realism and loved acre after acre of abstraction of all hues and shapes.

Some time after that I met her for the first time, and soon after I co-opened the first Fraser Gallery in Georgetown in 1996, and then I became good friends with her and spent many a good time in her splendid apartment in Adams Morgan, including a quite memorable New Year's in either 1996 or 1997.

My next memory comes when she had an exhibition of her ex-boyfriend's penis. Multiple paintings of that particular gent's penis were the talk of Washington in those days, and for quite a long time, there always seemed to be a Manon Cleary penis in every MOCA group show.

Then I recall the disturbing scenes in her rape paintings, which I think were first exhibited at MAP's old space in Baltimore. Here was the artist at her most powerful: taking the ultimate assault on a person and disseminating it to a powerful and beautifully painted series of images on canvas. Here was Cleary exerting the power of realism over all the other "isms" in a manner and form which only years of concentrated and meticulous work can deliver - the same span of years which eventually delivered the death prescription to this master.

Over the years that followed, we saw the quality of her spirit, as she continued to be a key part of the DC art scene, even as her health deteriorated.

I last saw her at the book release party for 100 Artists of Washington, DC, in which she is - of course - included. She thanked me for including her in the book and I told her how honored I was that she was part of it.

I used to call her "Manoncita" or Little Manon, and it is a bit unsettling, as I spent some time last night looking at the digital footprint of old emails between Manon and I, to see that term of endearment applied to such a giant of an artist.

I will miss you Manoncita.

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FotoWeek

I know nothing!

I haven't received a single bit of news or anything even remotely reading like a press release about FotoWeek DC; in fact I'm only hearing about FotoWeek from photographers asking me about it.

DCist has all the details here - I know nothing about it other than it has a really good website and it is a splendid idea!

Affordable Art Fair NY day two and three

Day two and three (Thursday and Friday) at AAFNYC went pretty much along the same way as the opening night, with good crowds and (since we are really close to the wrapping station) we can keep an eye on the sales, and the wrapping station was always busy through both days.

Some of the press reviews have come out, and yesterday Robert Ayers discussed his impressions of the fair and had some good things to say about both my former DC art gallery and about Tim Tate's work (showing with Norfolk's Mayer Fine Art). And LoftLife also reviews the fair and picks MFA with the splendid Santeria work of Marta Maria Perez Bravo.

Talking about Mayer Fine Art, its hardworking owner, Sheila Giolitti, is selling like gangbusters and her resin paintings are flying off the wall. Last year she sold out at AAFNYC and this year Giolitti is once again on the way to a sell out.

On the press preview I got into a slight tiff with a journalist.

She looked at Tim Tate's work and stated, "I know this artist."

"Cool," I responded, and I began to start discussing Tate's work with her.

"He shouldn't be here!" she exclaimed in a thick French accent, clearly miffed. The staff at MFA looked a little puzzled.

"Why?" I asked.

"This fair is supposed to be about emerging artists, and Tate is in museums already, so he's certainly not an emerging artist," she added.

It's not easy to throw me for a verbal loop, but this almost did. I started to counter her point about who or what can be at this fair or any other fair, but she kept going, adding more reasons why Tate's work doesn't belong at AAF.

"I disagree," was all that I could come up with.

"Well," she said imperiously as she walked away miffed, "I disagree too!"

In our row, our across the aisle neighbor, Arteria from Montreal, Canada seems to be doing well, and on Friday night they moved a huge wall sized oil by Jonathan Theroux. Also nearby, MAC Art Group from Miami, Florida is selling their riot of tropical colors steadily and works by Cuban painter Vicente Dopico-Lerner is doing well.

DC area galleries seem to be faring positively as well, and I've seen Honfleur's staff at the wrapping line several times and both Fraser and Nevin Kelly seem to be moving work.

Finally, the new location across the street from the Empire State Building is a winner (in my opinion), since the floor plan is much better and there are no "bad spots" for booths. Because it is on the 11th floor, setting and tear down might be a nightmare, but we'll see.

Zero Dark Thirty

As I've noted before, I am not really sure why I continue to get passes to many press previews of movies, but every once in a while, I do have the time and interest to go see one ahead of time and I saw Zero Dark Thirty and came away entertained, but as usual disappointed as to how Hollywood distorts historical events in order to make a film... ahhh... entertaining.

My basic issue with Zero Dark Thirty, and almost every single Hollywood movie allegedly representing a historical event, is that I am a pedantic Virgo, who tends to over notice little "wrong" things about celluloid history... little things such as a military ribbon out of place, an uncovered salute from a sailor, a wrong line.

To start, the very start of the movie is made up and never happened. But even before the start of the movie I have an issue.

"How can you have an issue before the movie starts, Lenster? ", you ask.

The title is wrong.

No one in the military says "Zero Dark Thirty."  The statement used to depict a very early hour in the day is "O Dark Thirty" -- "O" as in the letter; not "Zero" -- and I understand that this may confuse some folks who never served, but if I'm going to be pedantic, then I might as well start with an erroneous title.

Back to the start of the movie.

There were only three people terrorists who were water boarded by the CIA in their effort to gather intelligence from the bad guys (and thousands of US military people as part of the Survival, Evasion, Resistance, Escape (SERE) school - at least when I was in, being water boarded was part of the school curriculum); the dude being water boarded in the movie was not one of them, so why make that up?

That's two strikes already, and we're not even finished the first few minutes of the film, but Hollywood has already seeded suspicion about nearly everything that follows and that bugs the pedantic me.

The vast left wing nut house is going bananas over this film because it thinks that it is too flattering to the CIA, to the US Government, to whatever... they also rightly complain about perceived historical inaccuracies (although I didn't recall any such complaints on equally intellectually dishonest efforts such as Oliver Stone's "W" or Michael Moore's pick any documentary).

As a work of historical fiction, the film was splendid in its entertainment factor... and Hollywood will tell you that it is a "film and not a documentary." The problem is that a lot more people will see this film, and take it for a full, true story, than will ever read the actual facts about the OBL hunt.

Call for Artists

A splendid group of jurors -- including Dr. C. Everett Koop, Dr. Gary Vikan, Mr. Fred Lazarus, myself and others -- will be jurying the artwork for the The Innovators Combatting Substance Abuse Program next month in Baltimore.

The Innovators Combatting Substance Abuse Program has a call out for artists for original art to appear in a forthcoming book on art and addiction to be published by Johns Hopkins University Press.

Open to all artists and all media, including video on the subject of drug addiction, including alcohol, and recovery. A panel of jurors will select finalists, and each finalist will receive a $200 honorarium, with the top five receiving an additional $500, copy of the book, and inclusion in exhibitions in Maryland and Puerto Rico.

No entry fees!

Download entry form here.

Athenaeum

One of my absolutely favorite buildings in Old Town Alexandria, Virginia is the Athenaeum.

Built as a bank in 1851 in a Greek Revival style (and now a registered Virginia Landmark and a National Historic Site), this beautiful building stands out from the city's otherwise Federalist architecture with its high coved ceilings and large windows looking out onto cobblestones and 18th-century houses, and it is a splendid venue for an art exhibition, which is what the the Northern Virginia Fine Arts Association uses it for.

About ten years ago I curated a massive exhibition there, titled "A Survey of Washington Area Realists" which accommodated a few hundred artists hung salon-style in this beautiful building and was a huge success.

"Peace Pieces," all new works by area artist Marta Sewall, opens on Sunday, November 5, 2006, at the Athenaeum. According to the news release, "the works abstractly depict patterns taken from the earth and various global cultures. The mixed media pieces personify the natural and manmade occurrences of global decay and rebirth. Ms. Sewall's works are inspired by fabrics, diverse world societal traditions and architecture details."

The opening reception is from 4:00 pm ­ 6:00 pm on Sunday, November 5, 2006. The show will run through December 17, 2006.